Music 306 - Introduction to Jazz » Spring 2022 » Final Exam
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Question #1
All of the following are aspects of the term “post-historical” EXCEPT:
A.
argues that the past should be set aside and no longer studied
B.
suggests that the current moment offers a privileged vantage point from which to view the past
C.
recalls former arrogance that leads to moral chaos and military struggle
D.
attempts to convey the idea that the great political and cultural movements are all behind us
Question #2
In acknowledging their freedom to adapt material from any time, place, or genre, the next generation of jazz stars may be best described as continuing the ideology of:
A.
swing
B.
fusion
C.
bebop
D.
repertory bands
Question #3
Which of the following does NOT describe the second phase of jazz history as described in Chapter 19?
A.
embraced as a generation’s dance music
B.
firmly established as art
C.
influential in popular and classical idioms
D.
supported by academia
Question #4
During her time at Berklee College of Music, Esperanza Spalding worked with all of the following musicians EXCEPT:
A.
Yo-Yo Ma
B.
Pat Metheny
C.
Patti Austin
D.
Joe Lovano
Question #5
Who was the first jazz artist to win the Grammy Award for Best New Artist?
A.
Miles Davis
B.
Esperanza Spalding
C.
Jaco Pastorius
D.
Diana Krall
Question #6
Vijay Iyer and Rudresh Mahanthappa have undertaken an intense consideration of the relationship between jazz and the _____________ music of southern India.
A.
Dance
B.
Fusion
C.
Carnatic
D.
Lingua Franca
Question #7
In a series of five albums called The Art of the Trio, the pianist ____________ brought a powerfully meditative approach to pop standards, jazz, classics, and original pieces.
A.
Vijay Iyer
B.
Abdullah Ibraham
C.
Jason Moran
D.
Brad Mehldau
Question #8
Which of the following best describes a “historicist” perspective on jazz history?
A.
Jazz masters move the music along in radical leaps of creativity.
B.
Jazz creativity is inextricably bound to its past.
C.
The music of New Orleans and the Swing Era are the only true jazz styles.
D.
Jazz evolves in response to contemporary pop culture.
Question #9
When was the first genuine movement to promote an older, neglected jazz style over current jazz styles took place?
A.
1930s
B.
1960s
C.
1950s
D.
1980s
Question #10
All of the following are true of the Lenox School of Jazz EXCEPT:
A.
led to further teaching opportunities for several faculty members
B.
it operated for several decades.
C.
first time a group of faculty gathered together for the sole purpose of teaching jazz
D.
faculty included John Lewis, Gunther Schuller, Ornette Coleman, and Max Roach
Question #11
All of the following are true of Wynton Marsalis EXCEPT:
A.
insisted on a dress code inspired by the elegance of the swing bands
B.
from a musical New Orleans family
C.
he is appreciative of and tolerant toward all jazz styles.
D.
won Grammy awards in jazz and classical categories
Question #12
Pianist Diana Krall made her name with a trio inspired by which midcentury musician?
A.
Bud Powell
B.
Nat King Cole
C.
Mary Lou Williams
D.
Art Tatum
Question #13
With the decline in American jazz audiences in the 1970s, where did musicians go to find work?
A.
Universities
B.
Europe
C.
Commercial bands
D.
all are true
Question #14
Who is the band director and lead trumpet player in this recording?
A.
Louis Armstrong
B.
Miles Davis
C.
Dizzy Gillespie
D.
Wynton Marsalis
Question #15
This is an example of
A.
free improvisation
B.
block-chord texture
C.
scat singing
D.
comping
Question #16
Rock and roll represented a fusion of which two musical styles?
A.
Country and swing
B.
Jazz and doo wop
C.
Afro-Cuban and classical
D.
Black race records and rural hillbilly music
Question #17
Why was rock and roll initially dismissed by jazz musicians?
A.
It was aimed at a teen audience.
B.
It wasn’t marketable by promoters.
C.
It was too sophisticated for general audiences.
D.
It didn’t have the support of major record labels.
Question #18
All of the following elements of funk style made it well-suited for fusion with contemporary jazz EXCEPT:
A.
syncopated, danceable bass lines
B.
a focus on sweet, hummable vocal melodies
C.
interlocking rhythmic layers
D.
harmonic complexity
Question #19
Which is NOT an aspect of the crisis that jazz faced in 1967?
A.
stagnation of mainstream jazz style
B.
jazz critics and magazines beginning to take rock seriously
C.
death of John Coltrane
D.
young jazz musicians unwilling to embrace pop artists
Question #20
What element of rock aesthetics drew the attention of Miles Davis?
A.
the abstract nature of rock compositions
B.
simplicity
C.
the strictness of rock recording practices
D.
atonal, noisy timbres
Question #21
Which is NOT true of Miles Davis’s Bitches Brew?
A.
All of the songs were composed specifically for this recording session.
B.
The album did not find a broad audience.
C.
The studio sessions were extensively edited.
D.
Davis did not think it should be marketed as jazz.
Question #22
John McLaughlin’s music blended elements of all of the following traditions EXCEPT:
A.
Eastern religion
B.
Indian classical music
C.
Flamenco guitar
D.
Celtic fiddle music
Question #23
Who of the following musicians did NOT work with Miles Davis before forming or participating in an important 1970s fusion band?
A.
Joe Zawinul
B.
Jaco Pastorius
C.
Chick Corea
D.
Wayne Shorter
Question #24
How did Jaco Pastorius alter the electric bass to make a distinctive sound?
A.
removed the frets and filled in the holes with wood filler
B.
extended the upper range by adding frets to the fingerboard
C.
used a wide range of effects pedals
D.
used guitar strings instead of bass strings
Question #25
Which of the following is NOT true of the career of pianist Keith Jarrett?
A.
often berates his audience for making noise or not paying attention
B.
recorded a solo LP that has sold more than 4 million copies
C.
played electric piano with Miles Davis but disliked the experience
D.
most regular work has been as part of a quartet with saxophonist Charles Lloyd
Question #26
Why are Medeski, Martin, and Wood considered a “jam band”?
A.
because their audience overlaps with that of various rock-leaning artists such as Phish and Dave Matthews
B.
because they tour in a camper
C.
because the musicians have little formal training or jazz pedigree
D.
because they refuse to use acoustic instruments
Question #27
Pianist Robert Glasper has performed and recorded pieces by all of the following contemporary artists EXCEPT:
A.
Radiohead
B.
Herbie Hancock
C.
Mos Def
D.
Medeski, Martin, and Wood
Question #28
How could you describe the style of this music?
A.
funk
B.
fusion
C.
jam band
D.
all answers are true
Question #29
The name of this fusion band is
A.
Weather Report
B.
Mahavishnu Orchestra
C.
Head Hunters
D.
Martin Medeski and Wood
Question #30
Who is the pianist on this recording?
A.
Keith Jarrett
B.
Herbie Hancock
C.
Brad Mehldau
D.
Chick Corea
Question #31
A clave is
A.
all answers are true
B.
Spanish for "keystone."
C.
a time-line pattern on which Cuban music is based.
D.
a syncopated rhythm, used in two forms (son and rumba).
Question #32
All of the following were important Latin performers in the years before 1945 EXCEPT:
A.
Mario Bauza
B.
Machito
C.
Chano Pozo
D.
Antônio Carlos Jobim
Question #33
Chano Pozo was
A.
a Cuban conga player who performed with Dizzy Gillespie.
B.
a popular Cuban dance band leader of the 1930s and 1940s.
C.
all answers are true
D.
the founder of salsa music in the 1970s.
Question #34
From which country did bossa nova emerge?
A.
Mexico
B.
Cuba
C.
United States
D.
Brazil
Question #35
In the mid-1960s, Latin American musicians created a new hybrid style known as
A.
Salsa
B.
Reggaeton
C.
Cubop
D.
Bossa Nova
Question #36
The mixture of Cuban music and jazz in the 1940s was known as
A.
Reggaeton
B.
Bossa Nova
C.
Cubop
D.
Salsa
Question #37
This bebop pioneer became a pioneer of Afro-Cuban jazz.
A.
Charlie Parker
B.
Dizzy Gillespie
C.
Thelonious Monk
D.
Miles Davis
Question #38
Two jazz artists responsible for fusing bossa nova with jazz in the 1960s were
A.
Charlie Byrd and Stan Getz.
B.
Nat "King" Cole and Frank Sinatra.
C.
Dizzy Gillespie and Mario Bauzá.
D.
Jimmy Smith and Louis Jordan.
Question #39
Avant-garde jazz was also known as __________, taken from a 1961 album by Ornette Coleman.
A.
Our Music
B.
Free Jazz
C.
Black Music
D.
The New Thing
Question #40
Cecil Taylor was known for
A.
composing through the use of "unit structures."
B.
all answers are true
C.
a percussive approach to the piano.
D.
playing long, extended pieces in concert.
Question #41
The Association for the Advancement of Creative Musicians (AACM) was
A.
a performing group founded by Lester Bowie and Joseph Jarman.
B.
the cultural wing of the National Association for the Advancement of Colored People (NAACP).
C.
an avant-garde collective from Chicago.
D.
the official name of the orchestra organized by Sun Ra.
Question #42
The pianist, composer, and bandleader Sun Ra directed a large ensemble called the
A.
Interplanetary Experience.
B.
Heliocentric Worlds.
C.
Arkestra.
D.
Saturn Songsters.
Question #43
The three key figures in avant-garde jazz are
A.
Miles Davis, Gil Evans, and Herbie Hancock.
B.
John Coltrane, Ornette Coleman, and Cecil Taylor.
C.
Charlie Parker, Dizzy Gillespie, and Max Roach.
D.
Sonny Rollins, Wes Montgomery, and Art Blakey.
Question #44
Among the orchestral albums Miles Davis created in collaboration with Gil Evans in the late 1950s were
A.
Porgy and Bess and Sketches of Spain.
B.
Walkin' and Steamin'.
C.
E.S.P. and Sorcerer.
D.
Kind of Blue and Milestones.
Question #45
At age nineteen, Miles Davis was hired to play with
A.
John Coltrane.
B.
Coleman Hawkins.
C.
Charlie Parker.
D.
Duke Ellington.
Question #46
A.
Dexter Gordon
B.
Coleman Hawkins
C.
Wayne Shorter
D.
John Coltrane
Question #47
John Coltrane's A Love Supreme is unusual (in jazz format) in that it
A.
is divided into four "movements" with abstract titles (e.g., "Acknowledgement").
B.
places Coltrane in the midst of a large jazz orchestra.
C.
focuses relentlessly on Coltrane's approach to harmonic improvisation.
D.
features Coltrane playing songs from Broadway shows.
Question #48
Miles Davis played a major role in establishing which jazz styles?
A.
swing, bebop, and fusion
B.
swing, Third Stream, and the avant-garde
C.
cool, hard bop, and fusion
D.
bebop, hard bop, and the avant-garde
Question #49
Miles Davis's most famous album, the culmination of his experiments with modal jazz, was
A.
E.S.P.
B.
Giant Steps
C.
Kind of Blue
D.
Portrait in Jazz
Question #50
Modal jazz is characterized by
A.
drawing the melody for improvisation out of the chord changes.
B.
the technical challenge of improvising in high registers.
C.
improvising with scales over very few chords.
D.
combining chromatic chord changes with melodies in the major mode.
Question #51
The theme of John Coltrane's A Love Supreme was
A.
a graphic depiction of an intense romance.
B.
the birth of Coltrane's first son, Ravi.
C.
Coltrane's profound religious experience.
D.
Possible Answer an opera by George Gershwin.
Question #52
What was unusual about Bill Evans's piano trio?
A.
The accompanying instruments played simply to accommodate Evans's stride style.
B.
Each of the three pianos in the group performed in a different style.
C.
Evans replaced the drummer with an electric guitarist.
D.
The bassist was freed from keeping time to play strong melodic ideas.
Question #53
The style heard in this excerpt is best described as
A.
bebop
B.
cool
C.
fusion
D.
avant-garde
Question #54
The tenor saxophone soloist on this piece is
A.
Joe Henderson
B.
Wayne Shorter
C.
Sonny Rollins
D.
John Coltrane
Question #55
The trumpet soloist on this piece is:
A.
Roy Hargrove
B.
Miles Davis
C.
Clifford Brown
D.
Lee Morgan
Question #56
What is the name of this recording?
A.
So What?
B.
Giant Steps
C.
Acknowledgement
D.
My Favorite Things
Question #57
Charles Mingus consistently drew inspiration from the Swing Era bandleader and composer
A.
Count Basie
B.
Fletcher Henderson
C.
Benny Goodman
D.
Duke Ellington
Question #58
Charles Mingus was a virtuoso on the
A.
piano
B.
bass
C.
trombone
D.
alto saxophone
Question #59
Charles Mingus's "Fables of Faubus" was a protest sparked by
A.
The lunch counter sit-ins in Greensboro, North Carolina.
B.
Rosa Parks's defiance of segregation in Montgomery, Alabama.
C.
The murder of Emmett Till in Mississippi.
D.
A governor bringing in the National Guard to prevent the integration of Central High School in Little Rock, Arkansas
Question #60
From the 1950s to the 1970s, Gil Evans had a long working relationship with
A.
Dizzy Gillespie
B.
Charles Mingus
C.
Miles Davis
D.
Lester Young
Question #61
In addition to his compositions, Thelonious Monk was known as a
A.
pianist
B.
violinist
C.
drummer
D.
bassist
Question #62
Thelonious Monk's professional career began in the
A.
Benny Goodman Orchestra.
B.
rhythm section at Palomar Ballroom
C.
pit band at the Cotton Club.
D.
rhythm section at Minton's Playhouse
Question #63
The bassist and composer heard in this listening example is
A.
Jimmy Blanton
B.
Scott LaFaro
C.
Slam Stewart
D.
Charles Mingus
Question #64
The piano soloist in this recording is:
A.
Bud Powell
B.
Bill Evans
C.
Thelonious Monk
D.
Red Garland
Question #65
Among the pioneers of cool jazz are the following pianist/composers
A.
Art Tatum and Fats Waller.
B.
Lennie Tristano and Tadd Dameron.
C.
Jelly Roll Morton and Duke Ellington.
D.
Teddy Wilson and Billy Strayhorn.
Question #66
Art Blakey was
A.
a founding member of the Modern Jazz Quartet.
B.
a founding member of the Gerry Mulligan Quartet.
C.
the drummer for the Dave Brubeck Quartet.
D.
the leader of the Jazz Messengers.
Question #67
Cool jazz was also known as
A.
Bebop
B.
Swing
C.
West Coast Jazz
D.
Hardbop
Question #68
Hard bop tended to feature longer solos, in part because of
A.
the Civil Rights movement.
B.
the invention of the LP (long-playing record).
C.
television.
D.
the end of Prohibition.
Question #69
The baritone saxophonist who became famous for leading a "pianoless" quartet in 1952 was
A.
Chet Baker
B.
Gerry Mulligan
C.
Lennie Tristano
D.
Miles Davis
Question #70
This hard-bop musician, whose lengthy career was occasionally interrupted by brief sabbaticals devoted to practicing, recorded Saxophone Colossus in 1959.
A.
Coleman Hawkins
B.
Dexter Gordon
C.
John Coltrane
D.
Sonny Rollins
Question #71
Which ensemble is featured in this excerpt?
A.
Modern Jazz Quartet
B.
Miles Davis Quintet
C.
Dave Brubeck Quartet
D.
Miles Davis Nonet
Question #72
Among the drummers crucial to the bebop style were
A.
Gene Krupa and Chick Webb.
B.
Charlie Parker and Dizzy Gillespie.
C.
Kenny Clarke and Max Roach.
D.
Dexter Gordon and Bud Powell.
Question #73
Bebop differed from swing in that
A.
it was more closely linked to popular music.
B.
it used the tuba and banjo instead of the string bass and guitar.
C.
it was performed by small combos rather than big orchestras.
D.
each answer is true
Question #74
Charlie Parker was crucial for linking the modernist complexity of bebop with
A.
the marching band.
B.
the blues.
C.
classical music.
D.
gospel music.
Question #75
Dizzy Gillespie became famous for
A.
all answers are true
B.
his bebop-style big bands.
C.
a witty, genial stage persona.
D.
his beret, goatee, and unusually shaped trumpet.
Question #76
Which Kansas City-born jazz saxophonist is known as a pioneer of bebop?
A.
Charlie Parker
B.
Lee Konitz
C.
Johnny Hodges
D.
Cannonball Adderley
Question #77
The bebop pianist on this piece who was in and out of institutions throughout his life is
A.
Teddy Wilson
B.
Bill Evans
C.
Herbie Hancock
D.
Bud Powell
Question #78
The saxophonist on this recording is
A.
Ben Webster
B.
Lester Young
C.
Charlie Parker
D.
Cannonball Adderley
Question #79
The style of this excerpt is
A.
Bebop
B.
Swing
C.
Hard Bop
D.
Cool Jazz
Question #80
Art Tatum was a virtuosic
A.
bassist
B.
pianist
C.
drummer
D.
trombonist
Question #81
What were "cutting contests"?
A.
sessions at the Savoy Ballroom in which dancers would "cut a rug"
B.
recordings created by "cutting" recording tape (i.e., splicing) to eliminate errors
C.
drummers cutting off soloists by "dropping bombs" in the middle of a phrase
D.
competitive jam sessions in which jazz musicians would try to outplay each other
Question #82
Who was the first important electric guitarist in jazz?
A.
Pat Metheny
B.
Charlie Christian
C.
Jim Hall
D.
Django Reinhardt
Question #83
Who is the pianist heard in this excerpt?
A.
Duke Ellington
B.
Fats Waller
C.
Willie "The Lion" Smith
D.
Art Tatum
Question #84
Coleman Hawkins was a pioneer on the ______ saxophone.
A.
baritone
B.
soprano
C.
alto
D.
tenor
Question #85
Coleman Hawkins's most famous recording, the 1939 ______, was a pinnacle in jazz improvisation and a tremendous commercial success.
A.
Blue Skies
B.
Body and Soul
C.
One O'Clock Jump
D.
Heart and Soul
Question #86
European guitarist Django Reinhardt's virtuosity was all the more remarkable because
A.
he never played in the United States.
B.
he was deaf.
C.
he was blind.
D.
his left hand was crippled in a Romany Gypsy campfire.
Question #87
Lester Young
A.
had a light sound, played rhythmically unpredictable phrases, and spoke a special slang.
B.
was a soloist with Duke Ellington whose solos had a romantic lyricism.
C.
played flashy passages in his upper register, often with growls.
D.
had a powerful sound with heavy vibrato and specialized in harmonic improvisation.
Question #88
Often cited as jazz's greatest vocalist, this singer had a thin, edgy timbre, and worked within a range of no more than an octave and a half.
A.
Ella Fitzgerald
B.
Billie Holiday
C.
Nancy Wilson
D.
Louis Armstrong
Question #89
This musician steadfastly fought racism, organizing the first integrated and international orchestra in jazz history.
A.
Benny Goodman
B.
Artie Shaw
C.
Valaida Snow
D.
Benny Carter
Question #90
Which saxophonist had a "musical romance" with Billie Holiday, often appearing as her accompanist on her recordings?
A.
Coleman Hawkins
B.
Lester Young
C.
Ben Webster
D.
Johnny Hodges
Question #91
The featured saxophone soloist is
A.
John Coltrane
B.
Coleman Hawkins
C.
Lester Young
D.
Charlie Parker
Question #92
The singer featured in this recording is
A.
Ella Fitzgerald
B.
Cab Calloway
C.
Billie Holiday
D.
Louis Armstrong
Question #93
The vocalist on this recording is
A.
Bessie Smith
B.
Louis Armstrong
C.
Billie Holiday
D.
Ella Fitzgerald
Question #94
Billy Strayhorn was
A.
Duke Ellington's co-composer and author of "Take the 'A' Train."
B.
a boogie-woogie pianist.
C.
a member of Count Basie's rhythm section.
D.
the clarinet soloist on many of Duke Ellington's recordings from the Cotton Club.
Question #95
In 1943, Ellington wrote __________, a forty-eight-minute piece dubbed the "history of the American Negro," and performed it in concert at Carnegie Hall.
A.
Far East Suite
B.
Black and Tan Fantasy
C.
Diminuendo and Crescendo in Blue
D.
Black, Brown and Beige
Question #96
In her later career, Mary Lou Williams
A.
all answers are true
B.
was a devoted teacher of jazz history.
C.
became increasingly active as a composer.
D.
was a leader in the bebop (modern jazz) movement.
Question #97
Which artist summed up his attitude toward rhythm with the aphorism, "It don't mean a thing if it ain't got that swing"?
A.
Count Basie
B.
Artie Shaw
C.
Benny Goodman
D.
Duke Ellington
Question #98
The bandleader and composer is
A.
Benny Goodman
B.
Duke Ellington
C.
Fletcher Henderson
D.
Count Basie
Question #99
The pianist and bandleader is
A.
Duke Ellington
B.
Mary Lou Williams
C.
Count Basie
D.
Benny Goodman
Question #100
Benny Goodman played the
A.
trombone
B.
trumpet
C.
clarinet
D.
saxophone
Question #101
John Hammond
A.
was born into a wealthy New York family.
B.
was a nonmusician who promoted jazz.
C.
championed black musicians in the recording studio.
D.
all answers are true
Question #102
Identify the band for this recording by the bandleader.
A.
Fletcher Henderson
B.
Benny Goodman
C.
Glenn Miller
D.
Jimmy Lunceford
Question #103
Who is the clarinet player in this recording?
A.
Woody Herman
B.
Benny Goodman
C.
Sidney Bechet
D.
Eric Dolphy
Question #104
Louis Armstrong changed the way jazz musicians improvised by
A.
performing with a rhythmic energy that was quickly imitated.
B.
deemphasizing the role of the blues.
C.
demonstrating his mastery of mutes.
D.
all answers are true
Question #105
Louis Armstrong's Hot Five and Hot Seven recordings are influential because they
A.
epitomize the peak of traditional New Orleans polyphony
B.
were a racially integrated band.
C.
feature block-chord riffs in call-and-response patterns.
D.
feature soloists and highlight individual expression.
Question #106
______ was Louis Armstrong's nickname.
A.
Dizzy
B.
Satchmo
C.
Count
D.
King
Question #107
The trumpet player is
A.
Louis Armstrong
B.
Joe King Oliver
C.
Buddy Bolden
D.
Bix Beiderbecke
Question #108
Jazz began in which U.S. city?
A.
Los Angels
B.
New Orleans
C.
New York
D.
Chicago
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