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.   Harlem Renaissance
B.   Industrial Revolution
C.   Civil War
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.   FALSE
B.   TRUE
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.   All statements are true.
C.   They toured the U.S. and Europe in the 1870s.
D.   They raised the staggering sum of $150,000 in the late nineteenth century.
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 eighteenth-century intellectual movement focused on the individual.
C.   An artistic movement inspired by a French painting.
D.   A Christian movement of the early 1800s.
Question #7
Swing Low, Sweet Chariot became a favorite tune of which college-level performing group?
A.   Fisk Jubilee Singers
B.   Nordic Singers
C.   St. Olaf Choir
D.   East Carolina University Singers
Question #8
Spirituals (devotional songs)
A.   borrowed musical elements from European art song.
B.   were created exclusively for minstrel shows.
C.   were sung by African Americans at camp meetings for freed slaves.
D.   were an outgrowth of Stephen Foster’s parlor songs.
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.   All possible answers.
B.   Native American
C.   European American
D.   African American
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.   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 prophet Elijah taken up to heaven by a chariot of fire.
B.   the day of reckoning.
C.   the parable of the Lost Sheep.
D.   the parable of the wise and foolish Virgins
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.   Harriet Beecher Stowe’s Uncle Tom’s Cabin
B.   The Holy Bible
C.   Booker T. Washington’s Up From Slavery
D.   Virgil’s Aeneid
Question #18
The texture of African American spirituals is best described as
A.   monophonic with some heterophonic elaboration.
B.   dense polyphony
C.   complex counterpoint.
D.   strictly monophonic.
Question #19
What did spirituals include that made them politically subversive?
A.   coded messages
B.   messages of earthly escape
C.   promises of heavenly deliverance
D.   All possible answers.
Question #20
When was the Harlem Renaissance?
A.   the early part of the twentieth century
B.   the 1700s
C.   the early 1800s
D.   the 1500s

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