Music 120 - Music Appreciation » Fall 2019 » Quiz 50

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Question #1
Art-song arrangements of African American spirituals were an important part of which cultural movement?
A.   Counterculture
B.   Harlem Renaissance
C.   Industrial Revolution
D.   Civil War
Question #2
At the turn of the 1800s camp meetings in the United States were not segregated by cultural background.
A.   TRUE
B.   FALSE
Question #3
Burleigh’s arrangement of Swing Low, Sweet Chariot calls upon jazz and blues traditions.
A.   FALSE
B.   TRUE
Question #4
Which statement describes the activities of the Fisk Jubilee Singers?
A.   All statements are true.
B.   They raised the staggering sum of $150,000 in the late nineteenth century.
C.   They formed as a group to raise funds for the Fisk University.
D.   They toured the U.S. and Europe in the 1870s.
Question #5
Fisk University in Nashville, Tennessee, was established as a college for freed slaves.
A.   TRUE
B.   FALSE
Question #6
What is the Second Great Awakening?
A.   A literary movement interested in evoking ideas through "sounds" of words.
B.   An artistic movement inspired by a French painting.
C.   A Christian movement of the early 1800s.
D.   An eighteenth-century intellectual movement focused on the individual.
Question #7
Swing Low, Sweet Chariot became a favorite tune of which college-level performing group?
A.   St. Olaf Choir
B.   Nordic Singers
C.   East Carolina University Singers
D.   Fisk Jubilee Singers
Question #8
Spirituals (devotional songs)
A.   borrowed musical elements from European art song.
B.   were created exclusively for minstrel shows.
C.   were an outgrowth of Stephen Foster’s parlor songs.
D.   were sung by African Americans at camp meetings for freed slaves.
Question #9
Spirituals fell out of circulation after the Civil War in the United States.
A.   TRUE
B.   FALSE
Question #10
Swing Low, Sweet Chariot reflects which of the following traditions?
A.   European American
B.   African American
C.   Native American
D.   All possible answers.
Question #11
Swing Low, Sweet Chariot was originally composed in the first decade of the twentieth century.
A.   TRUE
B.   FALSE
Question #12
The Fisk Jubilee Singers were introduced to Swing Low, Sweet Chariot by
A.   Harry T. Burleigh
B.   a Choctaw Native American.
C.   Wallace Willis.
D.   Reverend Alexander Reid.
Question #13
The Fisk arrangement of Swing Low, Sweet Chariot is strophic.
A.   FALSE
B.   TRUE
Question #14
The lyrics to Swing Low, Sweet Chariot concern
A.   the parable of the wise and foolish Virgins
B.   the parable of the Lost Sheep.
C.   the day of reckoning.
D.   the prophet Elijah taken up to heaven by a chariot of fire.
Question #15
The singing of spirituals offered the slave community a sense of solidarity.
A.   TRUE
B.   FALSE
Question #16
The style and structure of African American spirituals were in strict imitation of European models.
A.   FALSE
B.   TRUE
Question #17
The text of Swing Low, Sweet Chariot is based on a story from what source?
A.   The Holy Bible
B.   Booker T. Washington’s Up From Slavery
C.   Harriet Beecher Stowe’s Uncle Tom’s Cabin
D.   Virgil’s Aeneid
Question #18
The texture of African American spirituals is best described as
A.   strictly monophonic.
B.   monophonic with some heterophonic elaboration.
C.   dense polyphony
D.   complex counterpoint.
Question #19
What did spirituals include that made them politically subversive?
A.   All possible answers.
B.   messages of earthly escape
C.   coded messages
D.   promises of heavenly deliverance
Question #20
When was the Harlem Renaissance?
A.   the 1500s
B.   the early 1800s
C.   the 1700s
D.   the early part of the twentieth century

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