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.
argues that the past should be set aside and no longer studied
D.
suggests that the current moment offers a privileged vantage point from which to view the past
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.
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.
influential in popular and classical idioms
B.
supported by academia
C.
embraced as a generation’s dance music
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.
Yo-Yo Ma
C.
Patti Austin
D.
Joe Lovano
Question #5
Who was the first jazz artist to win the Grammy Award for Best New Artist?
A.
Diana Krall
B.
Miles Davis
C.
Esperanza Spalding
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.
Carnatic
C.
Fusion
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.
Abdullah Ibraham
B.
Brad Mehldau
C.
Jason Moran
D.
Vijay Iyer
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 masters move the music along in radical leaps of creativity.
C.
Jazz evolves in response to contemporary pop culture.
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.
1950s
B.
1980s
C.
1960s
D.
1930s
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.
led to further teaching opportunities for several faculty members
C.
faculty included John Lewis, Gunther Schuller, Ornette Coleman, and Max Roach
D.
it operated for several decades.
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.
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.
Bud Powell
B.
Art Tatum
C.
Mary Lou Williams
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.
Europe
C.
all are true
D.
Commercial bands
Question #14
Who is the band director and lead trumpet player in this recording?
A.
Louis Armstrong
B.
Dizzy Gillespie
C.
Miles Davis
D.
Wynton Marsalis
Question #15
This is an example of
A.
comping
B.
block-chord texture
C.
scat singing
D.
free improvisation
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.
Afro-Cuban and classical
D.
Jazz and doo wop
Question #17
Why was rock and roll initially dismissed by jazz musicians?
A.
It didn’t have the support of major record labels.
B.
It was aimed at a teen audience.
C.
It was too sophisticated for general audiences.
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.
syncopated, danceable bass lines
B.
harmonic complexity
C.
interlocking rhythmic layers
D.
a focus on sweet, hummable vocal melodies
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.
stagnation of mainstream jazz style
C.
death of John Coltrane
D.
jazz critics and magazines beginning to take rock seriously
Question #20
What element of rock aesthetics drew the attention of Miles Davis?
A.
simplicity
B.
atonal, noisy timbres
C.
the abstract nature of rock compositions
D.
the strictness of rock recording practices
Question #21
Which is NOT true of Miles Davis’s Bitches Brew?
A.
The studio sessions were extensively edited.
B.
All of the songs were composed specifically for this recording session.
C.
The album did not find a broad audience.
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.
Indian classical music
B.
Flamenco guitar
C.
Celtic fiddle 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.
Chick Corea
B.
Wayne Shorter
C.
Joe Zawinul
D.
Jaco Pastorius
Question #24
How did Jaco Pastorius alter the electric bass to make a distinctive sound?
A.
used guitar strings instead of bass strings
B.
removed the frets and filled in the holes with wood filler
C.
extended the upper range by adding frets to the fingerboard
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.
often berates his audience for making noise or not paying attention
B.
most regular work has been as part of a quartet with saxophonist Charles Lloyd
C.
recorded a solo LP that has sold more than 4 million copies
D.
played electric piano with Miles Davis but disliked the experience
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.
Medeski, Martin, and Wood
C.
Radiohead
D.
Herbie Hancock
Question #28
How could you describe the style of this music?
A.
all answers are true
B.
fusion
C.
funk
D.
jam band
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.
Herbie Hancock
B.
Keith Jarrett
C.
Chick Corea
D.
Brad Mehldau
Question #31
A clave is
A.
Spanish for "keystone."
B.
a time-line pattern on which Cuban music is based.
C.
a syncopated rhythm, used in two forms (son and rumba).
D.
all answers are true
Question #32
All of the following were important Latin performers in the years before 1945 EXCEPT:
A.
Machito
B.
Mario Bauza
C.
Antônio Carlos Jobim
D.
Chano Pozo
Question #33
Chano Pozo was
A.
all answers are true
B.
a popular Cuban dance band leader of the 1930s and 1940s.
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.
Brazil
B.
United States
C.
Mexico
D.
Cuba
Question #35
In the mid-1960s, Latin American musicians created a new hybrid style known as
A.
Reggaeton
B.
Bossa Nova
C.
Salsa
D.
Cubop
Question #36
The mixture of Cuban music and jazz in the 1940s was known as
A.
Reggaeton
B.
Bossa Nova
C.
Salsa
D.
Cubop
Question #37
This bebop pioneer became a pioneer of Afro-Cuban jazz.
A.
Charlie Parker
B.
Miles Davis
C.
Thelonious Monk
D.
Dizzy Gillespie
Question #38
Two jazz artists responsible for fusing bossa nova with jazz in the 1960s were
A.
Charlie Byrd and Stan Getz.
B.
Jimmy Smith and Louis Jordan.
C.
Nat "King" Cole and Frank Sinatra.
D.
Dizzy Gillespie and Mario Bauzá.
Question #39
Avant-garde jazz was also known as __________, taken from a 1961 album by Ornette Coleman.
A.
Black Music
B.
Our Music
C.
The New Thing
D.
Free Jazz
Question #40
Cecil Taylor was known for
A.
all answers are true
B.
composing through the use of "unit structures."
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.
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.
Arkestra.
B.
Interplanetary Experience.
C.
Heliocentric Worlds.
D.
Saturn Songsters.
Question #43
The three key figures in avant-garde jazz are
A.
John Coltrane, Ornette Coleman, and Cecil Taylor.
B.
Miles Davis, Gil Evans, and Herbie Hancock.
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.
E.S.P. and Sorcerer.
B.
Kind of Blue and Milestones.
C.
Porgy and Bess and Sketches of Spain.
D.
Walkin' and Steamin'.
Question #45
At age nineteen, Miles Davis was hired to play with
A.
John Coltrane.
B.
Charlie Parker.
C.
Coleman Hawkins.
D.
Duke Ellington.
Question #46
In his second quintet, in the 1960s, Miles Davis relied on the composing talents of the tenor saxophonist
A.
Wayne Shorter
B.
John Coltrane
C.
Coleman Hawkins
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.
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.
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.
Kind of Blue
B.
Giant Steps
C.
Portrait in Jazz
D.
E.S.P.
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.
a graphic depiction of an intense romance.
C.
the birth of Coltrane's first son, Ravi.
D.
Possible Answer an opera by George Gershwin.
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.
Evans replaced the drummer with an electric guitarist.
C.
Each of the three pianos in the group performed in a different style.
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.
fusion
C.
bebop
D.
cool
Question #54
The tenor saxophone soloist on this piece is
A.
Joe Henderson
B.
Sonny Rollins
C.
Wayne Shorter
D.
John Coltrane
Question #55
The trumpet soloist on this piece is:
A.
Roy Hargrove
B.
Lee Morgan
C.
Clifford Brown
D.
Miles Davis
Question #56
What is the name of this recording?
A.
Giant Steps
B.
So What?
C.
My Favorite Things
D.
Acknowledgement
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.
The murder of Emmett Till in Mississippi.
B.
A governor bringing in the National Guard to prevent the integration of Central High School in Little Rock, Arkansas
C.
Rosa Parks's defiance of segregation in Montgomery, Alabama.
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.
bassist
B.
drummer
C.
violinist
D.
pianist
Question #62
Thelonious Monk's professional career began in the
A.
rhythm section at Minton's Playhouse
B.
rhythm section at Palomar Ballroom
C.
Benny Goodman Orchestra.
D.
pit band at the Cotton Club.
Question #63
The bassist and composer heard in this listening example is
A.
Charles Mingus
B.
Slam Stewart
C.
Scott LaFaro
D.
Jimmy Blanton
Question #64
The piano soloist in this recording is:
A.
Red Garland
B.
Bud Powell
C.
Bill Evans
D.
Thelonious Monk
Question #65
Among the pioneers of cool jazz are the following pianist/composers
A.
Lennie Tristano and Tadd Dameron.
B.
Teddy Wilson and Billy Strayhorn.
C.
Art Tatum and Fats Waller.
D.
Jelly Roll Morton and Duke Ellington.
Question #66
Art Blakey was
A.
a founding member of the Gerry Mulligan Quartet.
B.
the drummer for the Dave Brubeck Quartet.
C.
the leader of the Jazz Messengers.
D.
a founding member of the Modern Jazz Quartet.
Question #67
Cool jazz was also known as
A.
Hardbop
B.
Bebop
C.
West Coast Jazz
D.
Swing
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.
Lennie Tristano
B.
Chet Baker
C.
Miles Davis
D.
Gerry Mulligan
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.
Sonny Rollins
D.
John Coltrane
Question #71
Which ensemble is featured in this excerpt?
A.
Miles Davis Quintet
B.
Dave Brubeck Quartet
C.
Miles Davis Nonet
D.
Modern Jazz Quartet
Question #72
Among the drummers crucial to the bebop style were
A.
Charlie Parker and Dizzy Gillespie.
B.
Dexter Gordon and Bud Powell.
C.
Kenny Clarke and Max Roach.
D.
Gene Krupa and Chick Webb.
Question #73
Bebop differed from swing in that
A.
it was more closely linked to popular music.
B.
each answer is true
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.
gospel music.
B.
the marching band.
C.
the blues.
D.
classical music.
Question #75
Dizzy Gillespie became famous for
A.
his bebop-style big bands.
B.
all answers are true
C.
his beret, goatee, and unusually shaped trumpet.
D.
a witty, genial stage persona.
Question #76
Which Kansas City-born jazz saxophonist is known as a pioneer of bebop?
A.
Charlie Parker
B.
Cannonball Adderley
C.
Johnny Hodges
D.
Lee Konitz
Question #77
The bebop pianist on this piece who was in and out of institutions throughout his life is
A.
Teddy Wilson
B.
Herbie Hancock
C.
Bud Powell
D.
Bill Evans
Question #78
The saxophonist on this recording is
A.
Cannonball Adderley
B.
Charlie Parker
C.
Lester Young
D.
Ben Webster
Question #79
The style of this excerpt is
A.
Cool Jazz
B.
Bebop
C.
Swing
D.
Hard Bop
Question #80
Art Tatum was a virtuosic
A.
pianist
B.
bassist
C.
trombonist
D.
drummer
Question #81
What were "cutting contests"?
A.
recordings created by "cutting" recording tape (i.e., splicing) to eliminate errors
B.
drummers cutting off soloists by "dropping bombs" in the middle of a phrase
C.
competitive jam sessions in which jazz musicians would try to outplay each other
D.
sessions at the Savoy Ballroom in which dancers would "cut a rug"
Question #82
Who was the first important electric guitarist in jazz?
A.
Django Reinhardt
B.
Jim Hall
C.
Pat Metheny
D.
Charlie Christian
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.
soprano
B.
tenor
C.
baritone
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.
Body and Soul
D.
Heart and Soul
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.
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.
Ella Fitzgerald
B.
Billie Holiday
C.
Louis Armstrong
D.
Nancy Wilson
Question #89
This musician steadfastly fought racism, organizing the first integrated and international orchestra in jazz history.
A.
Benny Carter
B.
Artie Shaw
C.
Benny Goodman
D.
Valaida Snow
Question #90
Which saxophonist had a "musical romance" with Billie Holiday, often appearing as her accompanist on her recordings?
A.
Lester Young
B.
Coleman Hawkins
C.
Ben Webster
D.
Johnny Hodges
Question #91
The featured saxophone soloist is
A.
John Coltrane
B.
Charlie Parker
C.
Coleman Hawkins
D.
Lester Young
Question #92
The singer featured in this recording is
A.
Cab Calloway
B.
Ella Fitzgerald
C.
Billie Holiday
D.
Louis Armstrong
Question #93
The vocalist on this recording is
A.
Bessie Smith
B.
Ella Fitzgerald
C.
Louis Armstrong
D.
Billie Holiday
Question #94
Billy Strayhorn was
A.
a member of Count Basie's rhythm section.
B.
the clarinet soloist on many of Duke Ellington's recordings from the Cotton Club.
C.
Duke Ellington's co-composer and author of "Take the 'A' Train."
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.
Black, Brown and Beige
B.
Far East Suite
C.
Diminuendo and Crescendo in Blue
D.
Black and Tan Fantasy
Question #96
In her later career, Mary Lou Williams
A.
was a leader in the bebop (modern jazz) movement.
B.
all answers are true
C.
was a devoted teacher of jazz history.
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.
Benny Goodman
B.
Count Basie
C.
Artie Shaw
D.
Duke Ellington
Question #98
The bandleader and composer is
A.
Benny Goodman
B.
Count Basie
C.
Duke Ellington
D.
Fletcher Henderson
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.
clarinet
C.
trumpet
D.
saxophone
Question #101
John Hammond
A.
championed black musicians in the recording studio.
B.
all answers are true
C.
was born into a wealthy New York family.
D.
was a nonmusician who promoted jazz.
Question #102
Identify the band for this recording by the bandleader.
A.
Benny Goodman
B.
Glenn Miller
C.
Jimmy Lunceford
D.
Fletcher Henderson
Question #103
Who is the clarinet player in this recording?
A.
Woody Herman
B.
Sidney Bechet
C.
Benny Goodman
D.
Eric Dolphy
Question #104
Louis Armstrong changed the way jazz musicians improvised by
A.
all answers are true
B.
demonstrating his mastery of mutes.
C.
deemphasizing the role of the blues.
D.
performing with a rhythmic energy that was quickly imitated.
Question #105
Louis Armstrong's Hot Five and Hot Seven recordings are influential because they
A.
feature soloists and highlight individual expression.
B.
feature block-chord riffs in call-and-response patterns.
C.
were a racially integrated band.
D.
epitomize the peak of traditional New Orleans polyphony
Question #106
______ was Louis Armstrong's nickname.
A.
King
B.
Satchmo
C.
Count
D.
Dizzy
Question #107
The trumpet player is
A.
Buddy Bolden
B.
Joe King Oliver
C.
Bix Beiderbecke
D.
Louis Armstrong
Question #108
Jazz began in which U.S. city?
A.
Los Angels
B.
New Orleans
C.
Chicago
D.
New York
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