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

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