Music 306 - Introduction to Jazz » Spring 2022 » CH 01-06 Review Quiz
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Question #1
The quality of sound that allows listeners to distinguish between a violin and a trumpet is referred to as:
A.
rhythm
B.
pitch
C.
harmony
D.
melody
E.
timbre
Question #2
A device inserted into the bell of a brass instrument to distort the sounds coming out is called
A.
mouthpiece
B.
mute
C.
valve
D.
key
E.
larynx
Question #3
Which brass instrument moves its slide to create a glissando?
A.
tuba
B.
trumpet
C.
clarinet
D.
banjo
E.
trombone
Question #4
Which part of the drum set consists of two cymbals controlled by a foot pedal?
A.
ride cymbal
B.
splash cymbal
C.
high-hat
D.
crash cymbal
E.
tam-tam
Question #5
The relative speed of a performance’s steady “pulse rhythm” is commonly referred to as the piece’s
A.
harmony
B.
dynamics
C.
meter
D.
tempo
E.
rhythm
Question #6
In jazz ensembles, bassists most often use _________ technique, plucking the strings with their fingers.
A.
pizzacato
B.
legato
C.
arco
D.
portamento
E.
staccato
Question #7
Jazz concepts of form are derived from African music, where improvisation happens within:
A.
a harmonic sequence
B.
a carefully notated concert performance
C.
a precisely measured amount of clock time
D.
only the rarest or ritual practices
E.
a rhythmic cycle
F.
Question #8
Which best describes the form of a twelve-bar blues chorus?
A.
two six-measure phrases
B.
four phrases of three measures each
C.
six two-measure phrases
D.
three phrases of four measures each
E.
an eight-measure phrase followed by a four-measure phrase
Question #9
What is the most common thirty-two-bar song form used by jazz musicians?
A.
ABAC
B.
AABA
C.
AAAA
D.
ABCD
E.
ABAB
Question #10
Which rhythm section instrument plays the foundational role of sounding the root of each chord and keeping time with a continuous stream of notes?
A.
trumpet
B.
clarinet
C.
drums
D.
bass
E.
baritone saxophone
Question #11
Harmonic improvisation requires a performer to _____________.
A.
Improvise using only a single scale.
B.
Create new melodies that fit over the tune’s chord progression.
C.
Abandon familiar musical elements in order to create something new.
D.
Ignore the contributions and suggestions of the accompanists.
E.
Embellish a composed melody.
Question #12
In jazz, a repeating rhythmic and harmonic cycle is called a __________.
A.
turn
B.
bridge
C.
verse
D.
chorus
Question #13
_______ _________ is the generalized name for the harmonic sequence underlying George Gershwin’s composition “I Got Rhythm.”
A.
Bird Blues
B.
Popular Song
C.
Standard Blues
D.
Rhythm Chorus
E.
Rhythm Changes
Question #14
W. C. Handy’s initial appreciation of the blues was based on its:
A.
connection to African traditions
B.
high-class status
C.
virtuosity
D.
commercial appeal
E.
artistic merit
Question #15
In “polishing” the rural blues that he heard in Mississippi, W. C. Handy did which of the following?
A.
He rehearsed it with his ensemble.
B.
All of the answers are true
C.
He notated the music.
D.
He published sheet music.
E.
He composed his own lyrics.
Question #16
The specific combinations of musical characteristics at the heart of jazz style—including polyrhythm, blue notes, timbre variation, and call and response—are the products of which cultural group?
A.
Nigerian
B.
Cuban
C.
African American
D.
English
E.
South African
Question #17
Which best describes the poetic form of blues lyrics?
A.
four-line stanza
B.
two-line couplet with second line repeated
C.
two-line couplet with first line repeated
D.
two-line stanza
E.
ten-line stanza
Question #18
Which instrument was most important in accompanying country blues?
A.
drums
B.
saxophone
C.
piano
D.
trumpet
E.
guitar
Question #19
All of the following are true of “race records” EXCEPT:
A.
Many of the original recordings have been preserved.
B.
They were recordings of black music for black listeners.
C.
Singers did not receive copyright royalty, just a modest performer’s fee.
D.
Singers were pressured by executives to record only the blues.
E.
They did not sell many copies.
Question #20
In her fourteen-year recording career, Bessie Smith recorded approximately how many songs?
A.
150
B.
50
C.
200
D.
100
E.
250
Question #21
On Bessie Smith’s “Reckless Blues,” which household item does Louis Armstrong use to modify the timbre of his trumpet?
A.
mop
B.
bucket
C.
sponge
D.
plunger
E.
dishrag
Question #22
Which is NOT true of blackface minstrelsy?
A.
Its music used African-derived instruments including the banjo.
B.
It generated negative racial stereotypes.
C.
It was originally performed by white performers in heavy black makeup.
D.
In the mid-nineteenth century it was the most popular form of theater in the country.
E.
It was only performed in the American South.
Question #23
When James Reese Europe’s Hellfighters performed in ballrooms for social dances, what type of instrumentation did they use?
A.
string ensemble
B.
symphonic orchestra
C.
large military-style band
D.
piano with banjo accompaniment
E.
small jazz combo
Question #24
What does it mean to “rag” a piece of music?
A.
to dance to it
B.
to subject it to a process of rhythmic complication
C.
to extend a short piece by repeating sections
D.
to improvise a march
E.
to perform it poorly
Question #25
How did Scott Joplin make most of the money to support his compositional career?
A.
by playing concerts
B.
through publishing royalties
C.
by conducting a brass band
D.
by licensing his music for use in films
E.
through record sales
Question #26
Why is Wilbur Sweatman’s “Down Home Rag” significant?
A.
It’s one of the fastest recorded performances of syncopated music.
B.
It’s an early example of ragtime drumming.
C.
All of the answers are true
D.
It avoids blue notes and other blues inflections.
E.
It provides crucial evidence for the transition between ragtime and jazz.
Question #27
New Orleans jazz primarily featured which of the following musical textures?
A.
monophonic - solo plus accompaniment
B.
polyphonic—collective improvisation
C.
monophonic—solo playing
D.
fully composed melodies and countermelodies
E.
F.
homophonic—solo plus accompaniment
Question #28
Who led the Onward Brass Band, a group that blended Creole sophistication with improvisational artistry?
A.
Manuel Perez
B.
Freddie Keppard
C.
Joe Oliver
D.
Buddy Bolden
E.
Barney Bigard
Question #29
Which aspect of Buddy Bolden’s playing did contemporary observers note most often?
A.
his variations on march themes
B.
the understatement of his playing
C.
the loudness of his playing
D.
the fast passages in his playing
E.
his ability to play two trumpets at once
Question #30
Which instruments are included in the front line of a New Orleans jazz band?
A.
trumpet, clarinet, trombone
B.
piano, tuba, drums
C.
clarinet, flute, saxophone
D.
trombone, tuba, banjo
Question #31
Which is the trumpet or cornet’s role in the New Orleans jazz band?
A.
play a countermelody in a register higher than the trumpet or cornet’s line
B.
play a decorated bass line that includes glissandos
C.
present a steady stream of notes maintaining the dominant pulse of the tune
D.
arpeggiate the underlying harmony of the tune
E.
present the melody with improvised variations
Question #32
The most distinctive feature of New Orleans jazz is:
A.
solo improvisation
B.
frequent syncopations
C.
collective improvisation
D.
harmonic improvisation
E.
use of blue notes
Question #33
All of the following factors were causes of the Great Migration EXCEPT:
A.
widespread segregation in the American south
B.
an increasing reliance on agricultural labor
C.
fear generated by unequal protection under the law
D.
few opportunities for black Americans to own land
E.
a work shortage initiated by American entry into World War I
Question #34
Why are Jelly Roll Morton’s 1923 recording sessions with the New Orleans Rhythm Kings significant?
A.
They are the first live recordings made in a jazz club.
B.
They took place in New Orleans.
C.
They are the first significant racially integrated jazz recording sessions.
D.
They took place in Los Angeles.
E.
They took place in Chicago.
Question #35
What was unusual about the front line of King Oliver’s Creole Jazz Band?
A.
It featured two clarinets.
B.
The clarinet lines were performed by the group’s pianist.
C.
It featured two cornets.
D.
It included violin.
E.
It featured two trombones.
Question #36
Sidney Bechet is responsible for establishing this instrument as a jazz instrument:
A.
clarinet
B.
saxophone
C.
piano
D.
banjo
E.
bass
Question #37
A.
B.
Queens
C.
Manhattan
D.
Staten Island
E.
The Bronx
F.
Brooklyn
Question #38
Which of the following parts of America’s entertainment infrastructure formed in late-nineteenth-century New York?
A.
All of the answers are true.
B.
record labels
C.
radio networks
D.
book publishers
E.
grand theaters
Question #39
What effect did technological advances in radio and recording have on the jazz community?
A.
It decentralized the jazz infrastructure across the country.
B.
It had no effect, since home audio systems were prohibitively expensive.
C.
It led audiences to stay home and obsessively listen to specific broadcasts and recordings.
D.
It forced performers to improve their technique.
E.
It drew audiences away from jazz and to sophisticated classical performances.
Question #40
How did Prohibition affect the jazz community?
A.
It caused many jazz musicians to become full-time composers.
B.
It provided abundant (dangerous) work opportunities for jazz musicians in illegal speakeasies.
C.
It encouraged musicians to avoid alcohol.
D.
All of the answers are true.
E.
It caused musicians to migrate away from larger cities.
Question #41
What was Paul Whiteman’s goal with his “An Experiment in Modern Music” concert of 1924?
A.
to argue that the blues was the soul of jazz
B.
to demonstrate that only New Orleans jazz was the authentic jazz
C.
to show that Louis Armstrong was the “King of Jazz”
D.
to reveal that jazz elements could form the foundation of highbrow art music
E.
to show that white musicians could perform raucous improvisations
Question #42
Which describes the racial dynamics of Fletcher Henderson’s engagement at the Roseland Ballroom:
A.
white ensembles playing for black audiences
B.
white ensembles playing for white audiences
C.
integrated ensembles playing for white audiences
D.
black ensembles playing for white audiences
E.
integrated ensembles playing for integrated audiences
Question #43
Which Manhattan neighborhood was referred to as “the greatest Negro city in the world”?
A.
Harlem
B.
Washington Heights
C.
Upper West Side
D.
Times Square
E.
Greenwich Village
Question #44
“Stride” refers to which aspect of a pianist’s performance?
A.
regular left-hand alternation between bass notes and chords
B.
fast right-hand arpeggios
C.
constant left-hand tremolo
D.
slow-moving “walking” accompaniments
E.
two-handed block chords
Question #45
All of the following are aspects of Louis Armstrong’s legacy EXCEPT:
A.
influenced symphonic trumpet players with his vibrato
B.
became the most influential composer in the jazz community
C.
only major figure of Western music to influence the music of his era equally as an instrumentalist and as a vocalist
D.
transformed the social music of New Orleans into an art
E.
influenced popular and country performers with his phrasing and spontaneity
Question #46
In what way did Louis Armstrong help to shape our understanding of the role of improvisation within jazz practice?
A.
carefully composed a large body of passages and played them the same every time
B.
established jazz as music that prizes individual expression through solo improvisation
C.
established collective improvisation as the main kind of jazz improvisation
D.
wrote an influential series of guides to improvisation
E.
established the development of technique as an end in itself
Question #47
In 1922, Joe Oliver sent Louis Armstrong a message inviting him to join Oliver’s band in which northern city?
A.
Detroit
B.
New Orleans
C.
Chicago
D.
New York
Question #48
Which of the following describes Earl Hines’s approach to rhythm?
A.
steady, on-the-beat background chords
B.
an idiosyncratic style that played constant games with the rhythmic pulse
C.
using tremolo to give the sense of no rhythmic movement
D.
slow-moving regular rhythms
E.
propulsive boogie-woogie patterns
Question #49
Which is NOT true of the Austin High Gang?
A.
They were named after a Chicago high school some of them attended.
B.
Their music was a rebellion against white middle class culture.
C.
They were a group of white jazz musicians born mostly between 1904 and 1909 and active in Chicago.
D.
Their ranks included only horn players
E.
They created the Chicago style, which featured aggressive rhythms, expansive solos, and polyphonic theme statements.
Question #50
In whose big band did Coleman Hawkins play for eleven years?
A.
Paul Whiteman
B.
Bix Beiderbecke
C.
Duke Ellington
D.
Louis Armstrong
E.
Fletcher Henderson
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