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.
anniversary celebration of the Mexican Revolution
D.
presidential inauguration
Question #3
In 1961, José Ives Limantour
A.
denounced La noche de los Mayas as primitive and abominable.
B.
wrote an influential article praising the works of Revueltas, Chávez, and other Mexican nationalists.
C.
discovered the score to La noche de los Mayas in Revueltas’s attic.
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.
All possible answers.
C.
Latin American instruments.
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.
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.
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.
African American heritage.
B.
the Day of the Dead.
C.
the timeless traditions of Mexican weddings
D.
the heritage of the Mayan empire.
Question #8
La noche de los Mayas contains an extended ________ section.
A.
woodwind
B.
brass
C.
percussion
D.
string
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.
imported and adopted European music traditions.
C.
vernacular traditions.
D.
musics from their northern neighbor.
Question #11
Mexican composers of the post-revolutionary period
A.
wrote music only using traditional instruments of their ancestors.
B.
All possible answers.
C.
tried to evoke, or suggest, the character of the native music.
D.
precisely notated and incorporated the folk melodies of the Amerindian people.
Question #12
Revueltas studied for a time in
A.
Berlin.
B.
Vienna.
C.
Paris.
D.
the United States.
Question #13
Revueltas was not politically active.
A.
TRUE
B.
FALSE
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.
FALSE
B.
TRUE
Question #16
The modern music traditions of Mexico
A.
All possible answers.
B.
are rich and varied.
C.
embrace Hispanic cultures.
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.
shifting meters
C.
modal harmonies
D.
ostinatos
Question #19
Which describes the music of Silvestre Revueltas?
A.
both modernist and nationalist
B.
nationalist
C.
neither modernist nor nationalist
D.
modernist
Question #20
Which describes the performing forces in Revueltas’s La noche de los Mayas?
A.
orchestra, piano, extended Latin percussion section
B.
string orchestra with bowed and plucked instruments: violins, guitars, vihuelas
C.
string orchestra and piano
D.
violins, trumpets, rhythm section
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