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.
1939 film score
B.
incidental music for a play by the same name
C.
anniversary celebration of the Mexican Revolution
D.
presidential inauguration
Question #3
In 1961, José Ives Limantour
A.
arranged La noche de los Mayas into a four-movement suite.
B.
denounced La noche de los Mayas as primitive and abominable.
C.
discovered the score to La noche de los Mayas in Revueltas’s attic.
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.
All possible answers.
B.
instruments from the European orchestral tradition.
C.
a short dance sequence of the son.
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.
guitar and vihuela in musical conversation with the trumpets
B.
violins in thirds answered by brass
C.
use of guitarrón and vihuelas
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.
draws on elements of traditional culture
C.
use of trumpets and violins evokes mariachi music
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.
string
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.
TRUE
B.
FALSE
Question #10
Mexican composers have realized their nationalist approach largely through reference to
A.
vernacular traditions.
B.
imported and adopted European music traditions.
C.
musics from their northern neighbor.
D.
All possible answers.
Question #11
Mexican composers of the post-revolutionary period
A.
tried to evoke, or suggest, the character of the native music.
B.
wrote music only using traditional instruments of their ancestors.
C.
precisely notated and incorporated the folk melodies of the Amerindian people.
D.
All possible answers.
Question #12
Revueltas studied for a time in
A.
Berlin.
B.
the United States.
C.
Vienna.
D.
Paris.
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.
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.
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.
"Aztec Renaissance."
C.
"New Mexico."
D.
"Mayan Renaissance."
Question #18
What musical characteristic does Revueltas use in his La noche de los Mayas that resemble the son?
A.
shifting meters
B.
modal harmonies
C.
ostinatos
D.
heterophonic textures
Question #19
Which describes the music of Silvestre Revueltas?
A.
both modernist and nationalist
B.
modernist
C.
neither modernist nor nationalist
D.
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.
orchestra, piano, extended Latin percussion section
C.
violins, trumpets, rhythm section
D.
string orchestra and piano
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