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