Music 120 - Music Appreciation » Fall 2019 » Quiz 57

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Question #1
Artists associated with the Harlem Renaissance were more interested in fostering musical traditions that they understood as more thoroughly African American—blues, jazz, and spirituals—than in encouraging the development of modernist art music.
A.   FALSE
B.   TRUE
Question #2
As a young person, William Grant Still was hired to write arrangements for
A.   the New York Philharmonic.
B.   radio and musical theater.
C.   Duke Ellington.
D.   All possible answers.
Question #3
Authors of essays in The New Negro wrote of racial equality and cultural pride in the black community.
A.   TRUE
B.   FALSE
Question #4
From where does "Harlem stride piano" originate?
A.   the swing era
B.   parlor songs
C.   ragtime
D.   the blues
Question #5
In the third movement of his Suite for Violin and Piano, Still composed melodies featuring lowered thirds and sevenths, typical of the blues.
A.   FALSE
B.   TRUE
Question #6
Where did William Grant Still grow up?
A.   Little Rock, Arkansas
B.   St. Louis, Missouri
C.   Pittsburgh, Pennsylvania
D.   New Orleans, Louisiana
Question #7
Still’s Suite for Violin and Piano contains how many movements?
A.   one
B.   two
C.   four
D.   three
Question #8
Early twentieth-century American composers
A.   wrote only "popular" music for mass markets.
B.   fully embraced the modernism of the Second Viennese School.
C.   sought to define a unique tradition of American modernism.
D.   continued in the German Romantic tradition.
Question #9
The Harlem Renaissance
A.   was a cultural movement celebrating African American contributions.
B.   was inspired by fifteenth-century artists and composers.
C.   funded major renovations to theaters in upper Manhattan.
D.   encouraged African Americans to embrace European traditions.
Question #10
The Harlem Renaissance took place in the
A.   1950s and 60s.
B.   1820s and 30s.
C.   1920s and 30s.
D.   1880s and 90s.
Question #11
The ideas from ______ are credited with sparking the so-called Harlem Renaissance.
A.   The New Negro
B.   African Dancer
C.   "How it Feels to Be Colored Me"
D.   "The Negro Speaks of Rivers"
Question #12
The insistent bass in the last movement of William Grant Still’s Suite for Violin and Piano resembles which jazz piano style?
A.   swing
B.   stride
C.   montuno
D.   Boogie-woogie
Question #13
The third movement of Still’s Suite for Violin and Piano embraces blues and jazz resources utilizing all of the following except
A.   modal harmonies.
B.   improvisation.
C.   call-and-response between violin and piano.
D.   a syncopated violin line.
Question #14
The third movement of Still’s Suite for Violin and Piano is programmatic and is meant to evoke
A.   an African dancer.
B.   Harlem "street urchins."
C.   the culture of Rochester.
D.   Harlem nightclub life.
Question #15
The third movement of Still’s Suite for Violin was inspired by
A.   The Weary Blues, by Langston Hughes.
B.   Mother and Child, a chalk on paper drawing by Sargent Johnson.
C.   Gamin, a sculpture of a street-smart kid in Harlem, by Augusta Savage.
D.   African Dancer, a sculpture by Richmond Barthé.
Question #16
The violin plays all of the following special effects in the last movement of Still’s Suite for Violin EXCEPT
A.   trills.
B.   double stops.
C.   glissandos.
D.   col legno.
Question #17
What was William Grant Still’s source of inspiration for his Suite for Violin?
A.   African American artwork
B.   essays from The New Negro
C.   Langston Hughes poetry
D.   spirituals
Question #18
Which is NOT true of William Grant Still?
A.   He studied composition in New York City.
B.   He had little formal education.
C.   He studied the violin.
D.   He left college to work as a professional musician.
Question #19
Why did Still favor the blues over spirituals as source material for his compositions?
A.   He enjoyed text repetition.
B.   He preferred 12-bar patterns.
C.   All possible answers.
D.   He felt that the blues did not exhibit Caucasian influence.
Question #20
William Grant Still
A.   All possible answers.
B.   looked to Harlem Renaissance artists and writers for inspiration
C.   broke racial barriers.
D.   was a representative of the Harlem Renaissance.

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