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

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