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.
anniversary celebration of the Mexican Revolution
B.
1939 film score
C.
presidential inauguration
D.
incidental music for a play by the same name
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.
arranged La noche de los Mayas into a four-movement suite.
D.
denounced La noche de los Mayas as primitive and abominable.
Question #4
In La noche de los Mayas, Revueltas incorporated
A.
Latin American instruments.
B.
a short dance sequence of the son.
C.
All possible answers.
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.
guitar and vihuela in musical conversation with the trumpets
B.
use of guitarrón and vihuelas
C.
violins in thirds answered by brass
D.
All possible answers.
Question #6
In what ways is the music of La noche de los Mayas modernist?
A.
connected to European traditions
B.
use of trumpets and violins evokes mariachi music
C.
draws on elements of traditional culture
D.
music evokes a modern primitivism
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.
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.
FALSE
B.
TRUE
Question #10
Mexican composers have realized their nationalist approach largely through reference to
A.
vernacular traditions.
B.
musics from their northern neighbor.
C.
All possible answers.
D.
imported and adopted European music traditions.
Question #11
Mexican composers of the post-revolutionary period
A.
All possible answers.
B.
wrote music only using traditional instruments of their ancestors.
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.
Vienna.
B.
Paris.
C.
the United States.
D.
Berlin.
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.
toured Europe extensively as a concert pianist.
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.
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.
"Aztec Renaissance."
B.
"Mayan Renaissance."
C.
"Mexico City Revival."
D.
"New Mexico."
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.
shifting meters
D.
modal harmonies
Question #19
Which describes the music of Silvestre Revueltas?
A.
nationalist
B.
modernist
C.
both modernist and nationalist
D.
neither modernist nor nationalist
Question #20
Which describes the performing forces in Revueltas’s La noche de los Mayas?
A.
violins, trumpets, rhythm section
B.
string orchestra with bowed and plucked instruments: violins, guitars, vihuelas
C.
string orchestra and piano
D.
orchestra, piano, extended Latin percussion section
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