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.   Civil War
D.   Industrial Revolution
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 formed as a group to raise funds for the Fisk University.
B.   They raised the staggering sum of $150,000 in the late nineteenth century.
C.   They toured the U.S. and Europe in the 1870s.
D.   All statements are true.
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.   An eighteenth-century intellectual movement focused on the individual.
C.   An artistic movement inspired by a French painting.
D.   A literary movement interested in evoking ideas through "sounds" of words.
Question #7
Swing Low, Sweet Chariot became a favorite tune of which college-level performing group?
A.   Nordic Singers
B.   St. Olaf Choir
C.   East Carolina University Singers
D.   Fisk Jubilee Singers
Question #8
Spirituals (devotional songs)
A.   were an outgrowth of Stephen Foster’s parlor songs.
B.   were created exclusively for minstrel shows.
C.   borrowed musical elements from European art song.
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.   FALSE
B.   TRUE
Question #10
Swing Low, Sweet Chariot reflects which of the following traditions?
A.   African American
B.   All possible answers.
C.   European 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.   Reverend Alexander Reid.
B.   Harry T. Burleigh
C.   Wallace Willis.
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 parable of the wise and foolish Virgins
B.   the day of reckoning.
C.   the parable of the Lost Sheep.
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.   TRUE
B.   FALSE
Question #17
The text of Swing Low, Sweet Chariot is based on a story from what source?
A.   Booker T. Washington’s Up From Slavery
B.   The Holy Bible
C.   Virgil’s Aeneid
D.   Harriet Beecher Stowe’s Uncle Tom’s Cabin
Question #18
The texture of African American spirituals is best described as
A.   strictly monophonic.
B.   complex counterpoint.
C.   monophonic with some heterophonic elaboration.
D.   dense polyphony
Question #19
What did spirituals include that made them politically subversive?
A.   All possible answers.
B.   messages of earthly escape
C.   promises of heavenly deliverance
D.   coded messages
Question #20
When was the Harlem Renaissance?
A.   the 1500s
B.   the early part of the twentieth century
C.   the early 1800s
D.   the 1700s

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