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.
1939 film score
C.
presidential inauguration
D.
anniversary celebration of the Mexican Revolution
Question #3
In 1961, José Ives Limantour
A.
wrote an influential article praising the works of Revueltas, Chávez, and other Mexican nationalists.
B.
discovered the score to La noche de los Mayas in Revueltas’s attic.
C.
denounced La noche de los Mayas as primitive and abominable.
D.
arranged La noche de los Mayas into a four-movement suite.
Question #4
In La noche de los Mayas, Revueltas incorporated
A.
instruments from the European orchestral tradition.
B.
a short dance sequence of the son.
C.
All possible answers.
D.
Latin American instruments.
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.
use of guitarrón and vihuelas
C.
violins in thirds answered by brass
D.
guitar and vihuela in musical conversation with the trumpets
Question #6
In what ways is the music of La noche de los Mayas modernist?
A.
music evokes a modern primitivism
B.
use of trumpets and violins evokes mariachi music
C.
connected to European traditions
D.
draws on elements of traditional culture
Question #7
La noche de los Mayas celebrates
A.
African American heritage.
B.
the heritage of the Mayan empire.
C.
the timeless traditions of Mexican weddings
D.
the Day of the Dead.
Question #8
La noche de los Mayas contains an extended ________ section.
A.
percussion
B.
brass
C.
string
D.
woodwind
Question #9
Despite their shared border, the culture and history of the U.S. and Mexico have not been intertwined.
A.
FALSE
B.
TRUE
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.
musics from their northern neighbor.
D.
vernacular traditions.
Question #11
Mexican composers of the post-revolutionary period
A.
precisely notated and incorporated the folk melodies of the Amerindian people.
B.
All possible answers.
C.
wrote music only using traditional instruments of their ancestors.
D.
tried to evoke, or suggest, the character of the native music.
Question #12
Revueltas studied for a time in
A.
the United States.
B.
Vienna.
C.
Paris.
D.
Berlin.
Question #13
Revueltas was not politically active.
A.
FALSE
B.
TRUE
Question #14
In his early years, Silvestre Revueltas
A.
toured Europe extensively as a concert pianist.
B.
studied at the Paris Conservatory with Nadia Boulanger.
C.
was a child prodigy on the violin.
D.
was mentored by Aaron Copland.
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.
embrace Amerindian cultures.
B.
embrace Hispanic cultures.
C.
All possible answers.
D.
are rich and varied.
Question #17
The post-revolutionary period in Mexico is sometimes called the
A.
"Mexico City Revival."
B.
"New Mexico."
C.
"Aztec Renaissance."
D.
"Mayan Renaissance."
Question #18
What musical characteristic does Revueltas use in his La noche de los Mayas that resemble the son?
A.
ostinatos
B.
modal harmonies
C.
heterophonic textures
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.
string orchestra with bowed and plucked instruments: violins, guitars, vihuelas
B.
violins, trumpets, rhythm section
C.
orchestra, piano, extended Latin percussion section
D.
string orchestra and piano
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