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