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.
attempts to convey the idea that the great political and cultural movements are all behind us
B.
suggests that the current moment offers a privileged vantage point from which to view the past
C.
argues that the past should be set aside and no longer studied
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.
swing
B.
fusion
C.
repertory bands
D.
bebop
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.
supported by academia
C.
influential in popular and classical idioms
D.
firmly established as art
Question #4
During her time at Berklee College of Music, Esperanza Spalding worked with all of the following musicians EXCEPT:
A.
Pat Metheny
B.
Joe Lovano
C.
Yo-Yo Ma
D.
Patti Austin
Question #5
Who was the first jazz artist to win the Grammy Award for Best New Artist?
A.
Diana Krall
B.
Jaco Pastorius
C.
Esperanza Spalding
D.
Miles Davis
Question #6
Vijay Iyer and Rudresh Mahanthappa have undertaken an intense consideration of the relationship between jazz and the _____________ music of southern India.
A.
Fusion
B.
Dance
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.
Vijay Iyer
B.
Jason Moran
C.
Abdullah Ibraham
D.
Brad Mehldau
Question #8
Which of the following best describes a “historicist” perspective on jazz history?
A.
Jazz evolves in response to contemporary pop culture.
B.
Jazz creativity is inextricably bound to its past.
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.
1980s
B.
1950s
C.
1960s
D.
1930s
Question #10
All of the following are true of the Lenox School of Jazz EXCEPT:
A.
it operated for several decades.
B.
first time a group of faculty gathered together for the sole purpose of teaching jazz
C.
led to further teaching opportunities for several faculty members
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.
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.
Mary Lou Williams
B.
Bud Powell
C.
Nat King Cole
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.
Commercial bands
C.
Europe
D.
all are true
Question #14
Who is the band director and lead trumpet player in this recording?
A.
Dizzy Gillespie
B.
Miles Davis
C.
Louis Armstrong
D.
Wynton Marsalis
Question #15
This is an example of
A.
scat singing
B.
free improvisation
C.
comping
D.
block-chord texture
Question #16
Rock and roll represented a fusion of which two musical styles?
A.
Black race records and rural hillbilly music
B.
Jazz and doo wop
C.
Afro-Cuban and classical
D.
Country and swing
Question #17
Why was rock and roll initially dismissed by jazz musicians?
A.
It was too sophisticated for general audiences.
B.
It didn’t have the support of major record labels.
C.
It was aimed at a teen audience.
D.
It wasn’t marketable by promoters.
Question #18
All of the following elements of funk style made it well-suited for fusion with contemporary jazz EXCEPT:
A.
interlocking rhythmic layers
B.
a focus on sweet, hummable vocal melodies
C.
syncopated, danceable bass lines
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.
the abstract nature of rock compositions
B.
atonal, noisy timbres
C.
simplicity
D.
the strictness of rock recording practices
Question #21
Which is NOT true of Miles Davis’s Bitches Brew?
A.
Davis did not think it should be marketed as jazz.
B.
The album did not find a broad audience.
C.
The studio sessions were extensively edited.
D.
All of the songs were composed specifically for this recording session.
Question #22
John McLaughlin’s music blended elements of all of the following traditions EXCEPT:
A.
Flamenco guitar
B.
Celtic fiddle music
C.
Eastern religion
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.
Jaco Pastorius
D.
Chick Corea
Question #24
How did Jaco Pastorius alter the electric bass to make a distinctive sound?
A.
used a wide range of effects pedals
B.
used guitar strings instead of bass strings
C.
removed the frets and filled in the holes with wood filler
D.
extended the upper range by adding frets to the fingerboard
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.
recorded a solo LP that has sold more than 4 million copies
C.
played electric piano with Miles Davis but disliked the experience
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 the musicians have little formal training or jazz pedigree
B.
because they tour in a camper
C.
because they refuse to use acoustic instruments
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.
Mos Def
B.
Medeski, Martin, and Wood
C.
Herbie Hancock
D.
Radiohead
Question #28
How could you describe the style of this music?
A.
all answers are true
B.
jam band
C.
fusion
D.
funk
Question #29
The name of this fusion band is
A.
Head Hunters
B.
Mahavishnu Orchestra
C.
Martin Medeski and Wood
D.
Weather Report
Question #30
Who is the pianist on this recording?
A.
Brad Mehldau
B.
Chick Corea
C.
Herbie Hancock
D.
Keith Jarrett
Question #31
A clave is
A.
Spanish for "keystone."
B.
a syncopated rhythm, used in two forms (son and rumba).
C.
all answers are true
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.
Chano Pozo
B.
Antônio Carlos Jobim
C.
Mario Bauza
D.
Machito
Question #33
Chano Pozo was
A.
a Cuban conga player who performed with Dizzy Gillespie.
B.
all answers are true
C.
the founder of salsa music in the 1970s.
D.
a popular Cuban dance band leader of the 1930s and 1940s.
Question #34
From which country did bossa nova emerge?
A.
Mexico
B.
Cuba
C.
Brazil
D.
United States
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.
Salsa
B.
Bossa Nova
C.
Cubop
D.
Reggaeton
Question #37
This bebop pioneer became a pioneer of Afro-Cuban jazz.
A.
Miles Davis
B.
Dizzy Gillespie
C.
Charlie Parker
D.
Thelonious Monk
Question #38
Two jazz artists responsible for fusing bossa nova with jazz in the 1960s were
A.
Nat "King" Cole and Frank Sinatra.
B.
Charlie Byrd and Stan Getz.
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.
Free Jazz
B.
Black Music
C.
The New Thing
D.
Our Music
Question #40
Cecil Taylor was known for
A.
a percussive approach to the piano.
B.
playing long, extended pieces in concert.
C.
composing through the use of "unit structures."
D.
all answers are true
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.
a performing group founded by Lester Bowie and Joseph Jarman.
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.
Arkestra.
B.
Interplanetary Experience.
C.
Heliocentric Worlds.
D.
Saturn Songsters.
Question #43
The three key figures in avant-garde jazz are
A.
Sonny Rollins, Wes Montgomery, and Art Blakey.
B.
John Coltrane, Ornette Coleman, and Cecil Taylor.
C.
Miles Davis, Gil Evans, and Herbie Hancock.
D.
Charlie Parker, Dizzy Gillespie, and Max Roach.
Question #44
Among the orchestral albums Miles Davis created in collaboration with Gil Evans in the late 1950s were
A.
E.S.P. and Sorcerer.
B.
Porgy and Bess and Sketches of Spain.
C.
Kind of Blue and Milestones.
D.
Walkin' and Steamin'.
Question #45
At age nineteen, Miles Davis was hired to play with
A.
Charlie Parker.
B.
John Coltrane.
C.
Duke Ellington.
D.
Coleman Hawkins.
Question #46
In his second quintet, in the 1960s, Miles Davis relied on the composing talents of the tenor saxophonist
A.
Dexter Gordon
B.
Wayne Shorter
C.
Coleman Hawkins
D.
John Coltrane
Question #47
John Coltrane's A Love Supreme is unusual (in jazz format) in that it
A.
places Coltrane in the midst of a large jazz orchestra.
B.
features Coltrane playing songs from Broadway shows.
C.
focuses relentlessly on Coltrane's approach to harmonic improvisation.
D.
is divided into four "movements" with abstract titles (e.g., "Acknowledgement").
Question #48
Miles Davis played a major role in establishing which jazz styles?
A.
swing, bebop, and fusion
B.
bebop, hard bop, and the avant-garde
C.
swing, Third Stream, and the avant-garde
D.
cool, hard bop, and fusion
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.
improvising with scales over very few chords.
B.
combining chromatic chord changes with melodies in the major mode.
C.
the technical challenge of improvising in high registers.
D.
drawing the melody for improvisation out of the chord changes.
Question #51
The theme of John Coltrane's A Love Supreme was
A.
a graphic depiction of an intense romance.
B.
Possible Answer an opera by George Gershwin.
C.
the birth of Coltrane's first son, Ravi.
D.
Coltrane's profound religious experience.
Question #52
What was unusual about Bill Evans's piano trio?
A.
Evans replaced the drummer with an electric guitarist.
B.
Each of the three pianos in the group performed in a different style.
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.
avant-garde
B.
cool
C.
fusion
D.
bebop
Question #54
The tenor saxophone soloist on this piece is
A.
John Coltrane
B.
Joe Henderson
C.
Sonny Rollins
D.
Wayne Shorter
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.
My Favorite Things
B.
So What?
C.
Giant Steps
D.
Acknowledgement
Question #57
Charles Mingus consistently drew inspiration from the Swing Era bandleader and composer
A.
Fletcher Henderson
B.
Duke Ellington
C.
Count Basie
D.
Benny Goodman
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.
The murder of Emmett Till in Mississippi.
B.
Rosa Parks's defiance of segregation in Montgomery, Alabama.
C.
A governor bringing in the National Guard to prevent the integration of Central High School in Little Rock, Arkansas
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.
Charles Mingus
B.
Miles Davis
C.
Lester Young
D.
Dizzy Gillespie
Question #61
In addition to his compositions, Thelonious Monk was known as a
A.
violinist
B.
pianist
C.
drummer
D.
bassist
Question #62
Thelonious Monk's professional career began in the
A.
rhythm section at Palomar Ballroom
B.
Benny Goodman Orchestra.
C.
rhythm section at Minton's Playhouse
D.
pit band at the Cotton Club.
Question #63
The bassist and composer heard in this listening example is
A.
Scott LaFaro
B.
Jimmy Blanton
C.
Charles Mingus
D.
Slam Stewart
Question #64
The piano soloist in this recording is:
A.
Thelonious Monk
B.
Bud Powell
C.
Red Garland
D.
Bill Evans
Question #65
Among the pioneers of cool jazz are the following pianist/composers
A.
Jelly Roll Morton and Duke Ellington.
B.
Teddy Wilson and Billy Strayhorn.
C.
Art Tatum and Fats Waller.
D.
Lennie Tristano and Tadd Dameron.
Question #66
Art Blakey was
A.
a founding member of the Gerry Mulligan Quartet.
B.
the leader of the Jazz Messengers.
C.
the drummer for the Dave Brubeck Quartet.
D.
a founding member of the Modern Jazz Quartet.
Question #67
Cool jazz was also known as
A.
West Coast Jazz
B.
Swing
C.
Bebop
D.
Hardbop
Question #68
Hard bop tended to feature longer solos, in part because of
A.
television.
B.
the invention of the LP (long-playing record).
C.
the end of Prohibition.
D.
the Civil Rights movement.
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.
Coleman Hawkins
B.
Sonny Rollins
C.
John Coltrane
D.
Dexter Gordon
Question #71
Which ensemble is featured in this excerpt?
A.
Miles Davis Quintet
B.
Modern Jazz Quartet
C.
Dave Brubeck Quartet
D.
Miles Davis Nonet
Question #72
Among the drummers crucial to the bebop style were
A.
Kenny Clarke and Max Roach.
B.
Gene Krupa and Chick Webb.
C.
Charlie Parker and Dizzy Gillespie.
D.
Dexter Gordon and Bud Powell.
Question #73
Bebop differed from swing in that
A.
it used the tuba and banjo instead of the string bass and guitar.
B.
it was performed by small combos rather than big orchestras.
C.
each answer is true
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.
a witty, genial stage persona.
B.
his beret, goatee, and unusually shaped trumpet.
C.
his bebop-style big bands.
D.
all answers are true
Question #76
Which Kansas City-born jazz saxophonist is known as a pioneer of bebop?
A.
Lee Konitz
B.
Cannonball Adderley
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.
Bud Powell
B.
Teddy Wilson
C.
Herbie Hancock
D.
Bill Evans
Question #78
The saxophonist on this recording is
A.
Lester Young
B.
Ben Webster
C.
Cannonball Adderley
D.
Charlie Parker
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.
drummer
B.
trombonist
C.
pianist
D.
bassist
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.
Pat Metheny
B.
Django Reinhardt
C.
Jim Hall
D.
Charlie Christian
Question #83
Who is the pianist heard in this excerpt?
A.
Duke Ellington
B.
Art Tatum
C.
Willie "The Lion" Smith
D.
Fats Waller
Question #84
Coleman Hawkins was a pioneer on the ______ saxophone.
A.
soprano
B.
alto
C.
baritone
D.
tenor
Question #85
Coleman Hawkins's most famous recording, the 1939 ______, was a pinnacle in jazz improvisation and a tremendous commercial success.
A.
Heart and Soul
B.
Blue Skies
C.
Body and Soul
D.
One O'Clock Jump
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.
was a soloist with Duke Ellington whose solos had a romantic lyricism.
B.
played flashy passages in his upper register, often with growls.
C.
had a powerful sound with heavy vibrato and specialized in harmonic improvisation.
D.
had a light sound, played rhythmically unpredictable phrases, and spoke a special slang.
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.
Louis Armstrong
B.
Nancy Wilson
C.
Billie Holiday
D.
Ella Fitzgerald
Question #89
This musician steadfastly fought racism, organizing the first integrated and international orchestra in jazz history.
A.
Benny Goodman
B.
Valaida Snow
C.
Benny Carter
D.
Artie Shaw
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.
Lester Young
D.
Coleman Hawkins
Question #91
The featured saxophone soloist is
A.
Coleman Hawkins
B.
Lester Young
C.
Charlie Parker
D.
John Coltrane
Question #92
The singer featured in this recording is
A.
Cab Calloway
B.
Louis Armstrong
C.
Billie Holiday
D.
Ella Fitzgerald
Question #93
The vocalist on this recording is
A.
Louis Armstrong
B.
Ella Fitzgerald
C.
Billie Holiday
D.
Bessie Smith
Question #94
Billy Strayhorn was
A.
a boogie-woogie pianist.
B.
Duke Ellington's co-composer and author of "Take the 'A' Train."
C.
the clarinet soloist on many of Duke Ellington's recordings from the Cotton Club.
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.
Diminuendo and Crescendo in Blue
B.
Far East Suite
C.
Black, Brown and Beige
D.
Black and Tan Fantasy
Question #96
In her later career, Mary Lou Williams
A.
all answers are true
B.
was a leader in the bebop (modern jazz) movement.
C.
became increasingly active as a composer.
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.
Artie Shaw
B.
Duke Ellington
C.
Count Basie
D.
Benny Goodman
Question #98
The bandleader and composer is
A.
Benny Goodman
B.
Count Basie
C.
Fletcher Henderson
D.
Duke Ellington
Question #99
The pianist and bandleader is
A.
Benny Goodman
B.
Duke Ellington
C.
Mary Lou Williams
D.
Count Basie
Question #100
Benny Goodman played the
A.
saxophone
B.
trombone
C.
clarinet
D.
trumpet
Question #101
John Hammond
A.
championed black musicians in the recording studio.
B.
was born into a wealthy New York family.
C.
was a nonmusician who promoted jazz.
D.
all answers are true
Question #102
Identify the band for this recording by the bandleader.
A.
Fletcher Henderson
B.
Glenn Miller
C.
Jimmy Lunceford
D.
Benny Goodman
Question #103
Who is the clarinet player in this recording?
A.
Woody Herman
B.
Sidney Bechet
C.
Eric Dolphy
D.
Benny Goodman
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 block-chord riffs in call-and-response patterns.
B.
were a racially integrated band.
C.
feature soloists and highlight individual expression.
D.
epitomize the peak of traditional New Orleans polyphony
Question #106
______ was Louis Armstrong's nickname.
A.
Count
B.
Dizzy
C.
Satchmo
D.
King
Question #107
The trumpet player is
A.
Joe King Oliver
B.
Buddy Bolden
C.
Bix Beiderbecke
D.
Louis Armstrong
Question #108
Jazz began in which U.S. city?
A.
New Orleans
B.
Chicago
C.
New York
D.
Los Angels
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