Music 120 - Music Appreciation » Fall 2019 » Quiz 60
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Question #1
"Mestizo realism" was a nationalist modernist movement that drew on elements of Mexico’s traditional cultures.
A.
FALSE
B.
TRUE
Question #2
For what occasion or purpose did Revueltas compose La noche de los Mayas?
A.
incidental music for a play by the same name
B.
anniversary celebration of the Mexican Revolution
C.
1939 film score
D.
presidential inauguration
Question #3
In 1961, José Ives Limantour
A.
wrote an influential article praising the works of Revueltas, Chávez, and other Mexican nationalists.
B.
arranged La noche de los Mayas into a four-movement suite.
C.
denounced La noche de los Mayas as primitive and abominable.
D.
discovered the score to La noche de los Mayas in Revueltas’s attic.
Question #4
In La noche de los Mayas, Revueltas incorporated
A.
Latin American instruments.
B.
All possible answers.
C.
instruments from the European orchestral tradition.
D.
a short dance sequence of the son.
Question #5
In La noche de los Mayas, how does the orchestra emulate the sound of a Mexican mariachi group?
A.
use of guitarrón and vihuelas
B.
All possible answers.
C.
guitar and vihuela in musical conversation with the trumpets
D.
violins in thirds answered by brass
Question #6
In what ways is the music of La noche de los Mayas modernist?
A.
music evokes a modern primitivism
B.
draws on elements of traditional culture
C.
connected to European traditions
D.
use of trumpets and violins evokes mariachi music
Question #7
La noche de los Mayas celebrates
A.
the heritage of the Mayan empire.
B.
the timeless traditions of Mexican weddings
C.
African American heritage.
D.
the Day of the Dead.
Question #8
La noche de los Mayas contains an extended ________ section.
A.
brass
B.
string
C.
percussion
D.
woodwind
Question #9
Despite their shared border, the culture and history of the U.S. and Mexico have not been intertwined.
A.
TRUE
B.
FALSE
Question #10
Mexican composers have realized their nationalist approach largely through reference to
A.
imported and adopted European music traditions.
B.
All possible answers.
C.
vernacular traditions.
D.
musics from their northern neighbor.
Question #11
Mexican composers of the post-revolutionary period
A.
All possible answers.
B.
wrote music only using traditional instruments of their ancestors.
C.
tried to evoke, or suggest, the character of the native music.
D.
precisely notated and incorporated the folk melodies of the Amerindian people.
Question #12
Revueltas studied for a time in
A.
Berlin.
B.
Paris.
C.
Vienna.
D.
the United States.
Question #13
Revueltas was not politically active.
A.
TRUE
B.
FALSE
Question #14
In his early years, Silvestre Revueltas
A.
was mentored by Aaron Copland.
B.
studied at the Paris Conservatory with Nadia Boulanger.
C.
toured Europe extensively as a concert pianist.
D.
was a child prodigy on the violin.
Question #15
Strong feelings of patriotism arose in Mexico after the Revolution in 1910.
A.
FALSE
B.
TRUE
Question #16
The modern music traditions of Mexico
A.
are rich and varied.
B.
embrace Amerindian cultures.
C.
All possible answers.
D.
embrace Hispanic cultures.
Question #17
The post-revolutionary period in Mexico is sometimes called the
A.
"Mexico City Revival."
B.
"New Mexico."
C.
"Mayan Renaissance."
D.
"Aztec Renaissance."
Question #18
What musical characteristic does Revueltas use in his La noche de los Mayas that resemble the son?
A.
ostinatos
B.
heterophonic textures
C.
modal harmonies
D.
shifting meters
Question #19
Which describes the music of Silvestre Revueltas?
A.
both modernist and nationalist
B.
modernist
C.
nationalist
D.
neither modernist nor nationalist
Question #20
Which describes the performing forces in Revueltas’s La noche de los Mayas?
A.
orchestra, piano, extended Latin percussion section
B.
string orchestra and piano
C.
violins, trumpets, rhythm section
D.
string orchestra with bowed and plucked instruments: violins, guitars, vihuelas
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