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.
anniversary celebration of the Mexican Revolution
D.
1939 film score
Question #3
In 1961, José Ives Limantour
A.
discovered the score to La noche de los Mayas in Revueltas’s attic.
B.
arranged La noche de los Mayas into a four-movement suite.
C.
denounced La noche de los Mayas as primitive and abominable.
D.
wrote an influential article praising the works of Revueltas, Chávez, and other Mexican nationalists.
Question #4
In La noche de los Mayas, Revueltas incorporated
A.
a short dance sequence of the son.
B.
All possible answers.
C.
Latin American instruments.
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.
violins in thirds answered by brass
C.
guitar and vihuela in musical conversation with the trumpets
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.
music evokes a modern primitivism
D.
draws on elements of traditional culture
Question #7
La noche de los Mayas celebrates
A.
African American heritage.
B.
the timeless traditions of Mexican weddings
C.
the heritage of the Mayan empire.
D.
the Day of the Dead.
Question #8
La noche de los Mayas contains an extended ________ section.
A.
woodwind
B.
percussion
C.
brass
D.
string
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.
vernacular traditions.
C.
imported and adopted European music traditions.
D.
musics from their northern neighbor.
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.
Vienna.
B.
the United States.
C.
Paris.
D.
Berlin.
Question #13
Revueltas was not politically active.
A.
FALSE
B.
TRUE
Question #14
In his early years, Silvestre Revueltas
A.
was a child prodigy on the violin.
B.
studied at the Paris Conservatory with Nadia Boulanger.
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.
"Aztec Renaissance."
C.
"Mexico City Revival."
D.
"Mayan Renaissance."
Question #18
What musical characteristic does Revueltas use in his La noche de los Mayas that resemble the son?
A.
modal harmonies
B.
heterophonic textures
C.
shifting meters
D.
ostinatos
Question #19
Which describes the music of Silvestre Revueltas?
A.
nationalist
B.
neither modernist nor nationalist
C.
both modernist and nationalist
D.
modernist
Question #20
Which describes the performing forces in Revueltas’s La noche de los Mayas?
A.
string orchestra and piano
B.
string orchestra with bowed and plucked instruments: violins, guitars, vihuelas
C.
violins, trumpets, rhythm section
D.
orchestra, piano, extended Latin percussion section
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