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.
anniversary celebration of the Mexican Revolution
C.
1939 film score
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.
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.
All possible answers.
C.
violins in thirds answered by brass
D.
use of guitarrón and vihuelas
Question #6
In what ways is the music of La noche de los Mayas modernist?
A.
draws on elements of traditional culture
B.
music evokes a modern primitivism
C.
connected to European traditions
D.
use of trumpets and violins evokes mariachi music
Question #7
La noche de los Mayas celebrates
A.
the timeless traditions of Mexican weddings
B.
the Day of the Dead.
C.
the heritage of the Mayan empire.
D.
African American heritage.
Question #8
La noche de los Mayas contains an extended ________ section.
A.
percussion
B.
woodwind
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.
FALSE
B.
TRUE
Question #10
Mexican composers have realized their nationalist approach largely through reference to
A.
musics from their northern neighbor.
B.
imported and adopted European music traditions.
C.
All possible answers.
D.
vernacular traditions.
Question #11
Mexican composers of the post-revolutionary period
A.
precisely notated and incorporated the folk melodies of the Amerindian people.
B.
tried to evoke, or suggest, the character of the native music.
C.
All possible answers.
D.
wrote music only using traditional instruments of their ancestors.
Question #12
Revueltas studied for a time in
A.
the United States.
B.
Vienna.
C.
Paris.
D.
Berlin.
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.
toured Europe extensively as a concert pianist.
C.
was mentored by Aaron Copland.
D.
studied at the Paris Conservatory with Nadia Boulanger.
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 Amerindian cultures.
C.
embrace Hispanic cultures.
D.
are rich and varied.
Question #17
The post-revolutionary period in Mexico is sometimes called the
A.
"Mexico City Revival."
B.
"New Mexico."
C.
"Mayan Renaissance."
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.
shifting meters
D.
modal harmonies
Question #19
Which describes the music of Silvestre Revueltas?
A.
both modernist and nationalist
B.
nationalist
C.
modernist
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 and piano
C.
string orchestra with bowed and plucked instruments: violins, guitars, vihuelas
D.
orchestra, piano, extended Latin percussion section
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