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