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.
incidental music for a play by the same name
B.
anniversary celebration of the Mexican Revolution
C.
presidential inauguration
D.
1939 film score
Question #3
In 1961, José Ives Limantour
A.
denounced La noche de los Mayas as primitive and abominable.
B.
discovered the score to La noche de los Mayas in Revueltas’s attic.
C.
wrote an influential article praising the works of Revueltas, Chávez, and other Mexican nationalists.
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.
Latin American instruments.
C.
All possible answers.
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.
guitar and vihuela in musical conversation with the trumpets
B.
All possible answers.
C.
use of guitarrón and vihuelas
D.
violins in thirds answered by brass
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.
music evokes a modern primitivism
C.
connected to European traditions
D.
draws on elements of traditional culture
Question #7
La noche de los Mayas celebrates
A.
the Day of the Dead.
B.
the timeless traditions of Mexican weddings
C.
African American heritage.
D.
the heritage of the Mayan empire.
Question #8
La noche de los Mayas contains an extended ________ section.
A.
string
B.
woodwind
C.
brass
D.
percussion
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.
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.
wrote music only using traditional instruments of their ancestors.
B.
All possible answers.
C.
precisely notated and incorporated the folk melodies of the Amerindian people.
D.
tried to evoke, or suggest, the character of the native music.
Question #12
Revueltas studied for a time in
A.
Paris.
B.
Berlin.
C.
the United States.
D.
Vienna.
Question #13
Revueltas was not politically active.
A.
FALSE
B.
TRUE
Question #14
In his early years, Silvestre Revueltas
A.
was mentored by Aaron Copland.
B.
was a child prodigy on the violin.
C.
toured Europe extensively as a concert pianist.
D.
studied at the Paris Conservatory with Nadia Boulanger.
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.
All possible answers.
B.
are rich and varied.
C.
embrace Amerindian cultures.
D.
embrace Hispanic cultures.
Question #17
The post-revolutionary period in Mexico is sometimes called the
A.
"Mayan Renaissance."
B.
"Mexico City Revival."
C.
"New Mexico."
D.
"Aztec Renaissance."
Question #18
What musical characteristic does Revueltas use in his La noche de los Mayas that resemble the son?
A.
heterophonic textures
B.
ostinatos
C.
modal harmonies
D.
shifting meters
Question #19
Which describes the music of Silvestre Revueltas?
A.
neither modernist nor nationalist
B.
nationalist
C.
modernist
D.
both modernist and 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.
string orchestra and piano
C.
violins, trumpets, rhythm section
D.
orchestra, piano, extended Latin percussion section
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