CH 01-06 Review Quiz

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Question #1

In whose big band did Coleman Hawkins play for eleven years?

A Duke Ellington

B Paul Whiteman

C Louis Armstrong

D Fletcher Henderson

E Bix Beiderbecke

Question #2

Which is NOT true of the Austin High Gang?

A Their ranks included only horn players

B They created the Chicago style, which featured aggressive rhythms, expansive solos, and polyphonic theme statements.

C They were named after a Chicago high school some of them attended.

D They were a group of white jazz musicians born mostly between 1904 and 1909 and active in Chicago.

E Their music was a rebellion against white middle class culture.

Question #3

Which of the following describes Earl Hines’s approach to rhythm?

A using tremolo to give the sense of no rhythmic movement

B an idiosyncratic style that played constant games with the rhythmic pulse

C propulsive boogie-woogie patterns

D slow-moving regular rhythms

E steady, on-the-beat background chords

Question #4

In 1922, Joe Oliver sent Louis Armstrong a message inviting him to join Oliver’s band in which northern city?

A Detroit

B Chicago

C New York

D New Orleans

Question #5

In what way did Louis Armstrong help to shape our understanding of the role of improvisation within jazz practice?

A established collective improvisation as the main kind of jazz improvisation

B established the development of technique as an end in itself

C established jazz as music that prizes individual expression through solo improvisation

D carefully composed a large body of passages and played them the same every time

E wrote an influential series of guides to improvisation

Question #6

All of the following are aspects of Louis Armstrong’s legacy EXCEPT:

A only major figure of Western music to influence the music of his era equally as an instrumentalist and as a vocalist

B transformed the social music of New Orleans into an art

C became the most influential composer in the jazz community

D influenced popular and country performers with his phrasing and spontaneity

E influenced symphonic trumpet players with his vibrato

Question #7

“Stride” refers to which aspect of a pianist’s performance?

A fast right-hand arpeggios

B two-handed block chords

C regular left-hand alternation between bass notes and chords

D constant left-hand tremolo

E slow-moving “walking” accompaniments

Question #8

Which Manhattan neighborhood was referred to as “the greatest Negro city in the world”?

A Upper West Side

B Washington Heights

C Times Square

D Greenwich Village

E Harlem

Question #9

Which describes the racial dynamics of Fletcher Henderson’s engagement at the Roseland Ballroom:

A white ensembles playing for black audiences

B integrated ensembles playing for white audiences

C black ensembles playing for white audiences

D integrated ensembles playing for integrated audiences

E white ensembles playing for white audiences

Question #10

What was Paul Whiteman’s goal with his “An Experiment in Modern Music” concert of 1924?

A to show that white musicians could perform raucous improvisations

B to demonstrate that only New Orleans jazz was the authentic jazz

C to argue that the blues was the soul of jazz

D to reveal that jazz elements could form the foundation of highbrow art music

E to show that Louis Armstrong was the “King of Jazz”

Question #11

How did Prohibition affect the jazz community?

A It caused many jazz musicians to become full-time composers.

B It caused musicians to migrate away from larger cities.

C It provided abundant (dangerous) work opportunities for jazz musicians in illegal speakeasies.

D It encouraged musicians to avoid alcohol.

E All of the answers are true.

Question #12

What effect did technological advances in radio and recording have on the jazz community?

A It had no effect, since home audio systems were prohibitively expensive.

B It decentralized the jazz infrastructure across the country.

C It forced performers to improve their technique.

D It drew audiences away from jazz and to sophisticated classical performances.

E It led audiences to stay home and obsessively listen to specific broadcasts and recordings.

Question #13

Which of the following parts of America’s entertainment infrastructure formed in late-nineteenth-century New York?

A All of the answers are true.

B record labels

C grand theaters

D radio networks

E book publishers

Question #14

Which borough of New York has been the focus of American jazz culture since the 1920s?

A Queens

B Manhattan

C The Bronx

D Staten Island

E Brooklyn

Question #15

Sidney Bechet is responsible for establishing this instrument as a jazz instrument:

A clarinet

B banjo

C piano

D saxophone

E bass

Question #16

What was unusual about the front line of King Oliver’s Creole Jazz Band?

A It featured two trombones.

B It featured two clarinets.

C It included violin.

D It featured two cornets.

E The clarinet lines were performed by the group’s pianist.

Question #17

Why are Jelly Roll Morton’s 1923 recording sessions with the New Orleans Rhythm Kings significant?

A They are the first live recordings made in a jazz club.

B They took place in Chicago.

C They are the first significant racially integrated jazz recording sessions.

D They took place in New Orleans.

E They took place in Los Angeles.

Question #18

All of the following factors were causes of the Great Migration EXCEPT:

A a work shortage initiated by American entry into World War I

B few opportunities for black Americans to own land

C widespread segregation in the American south

D an increasing reliance on agricultural labor

E fear generated by unequal protection under the law

Question #19

The most distinctive feature of New Orleans jazz is:

A harmonic improvisation

B use of blue notes

C frequent syncopations

D solo improvisation

E collective improvisation

Question #20

Which is the trumpet or cornet’s role in the New Orleans jazz band?

A present the melody with improvised variations

B play a decorated bass line that includes glissandos

C arpeggiate the underlying harmony of the tune

D play a countermelody in a register higher than the trumpet or cornet’s line

E present a steady stream of notes maintaining the dominant pulse of the tune

Question #21

Which instruments are included in the front line of a New Orleans jazz band?

A trumpet, clarinet, trombone

B clarinet, flute, saxophone

C piano, tuba, drums

D trombone, tuba, banjo

Question #22

Which aspect of Buddy Bolden’s playing did contemporary observers note most often?

A the understatement of his playing

B his variations on march themes

C the loudness of his playing

D his ability to play two trumpets at once

E the fast passages in his playing

Question #23

Who led the Onward Brass Band, a group that blended Creole sophistication with improvisational artistry?

A Joe Oliver

B Barney Bigard

C Buddy Bolden

D Freddie Keppard

E Manuel Perez

Question #24

New Orleans jazz primarily featured which of the following musical textures?

A monophonic – solo plus accompaniment

B polyphonic—collective improvisation

D monophonic—solo playing

E fully composed melodies and countermelodies

F homophonic—solo plus accompaniment

Question #25

Why is Wilbur Sweatman’s “Down Home Rag” significant?

A It provides crucial evidence for the transition between ragtime and jazz.

B It’s an early example of ragtime drumming.

C All of the answers are true

D It avoids blue notes and other blues inflections.

E It’s one of the fastest recorded performances of syncopated music.

Question #26

How did Scott Joplin make most of the money to support his compositional career?

A by conducting a brass band

B by playing concerts

C through record sales

D by licensing his music for use in films

E through publishing royalties

Question #27

What does it mean to “rag” a piece of music?

A to extend a short piece by repeating sections

B to dance to it

C to subject it to a process of rhythmic complication

D to improvise a march

E to perform it poorly

Question #28

When James Reese Europe’s Hellfighters performed in ballrooms for social dances, what type of instrumentation did they use?

A small jazz combo

B piano with banjo accompaniment

C symphonic orchestra

D large military-style band

E string ensemble

Question #29

Which is NOT true of blackface minstrelsy?

A Its music used African-derived instruments including the banjo.

B It generated negative racial stereotypes.

C It was only performed in the American South.

D In the mid-nineteenth century it was the most popular form of theater in the country.

E It was originally performed by white performers in heavy black makeup.

Question #30

On Bessie Smith’s “Reckless Blues,” which household item does Louis Armstrong use to modify the timbre of his trumpet?

A plunger

B bucket

C dishrag

D mop

E sponge

Question #31

In her fourteen-year recording career, Bessie Smith recorded approximately how many songs?

A 100

B 150

C 250

D 50

E 200

Question #32

All of the following are true of “race records” EXCEPT:

A Singers were pressured by executives to record only the blues.

B Singers did not receive copyright royalty, just a modest performer’s fee.

C They did not sell many copies.

D Many of the original recordings have been preserved.

E They were recordings of black music for black listeners.

Question #33

Which instrument was most important in accompanying country blues?

A piano

B drums

C saxophone

D trumpet

E guitar

Question #34

Which best describes the poetic form of blues lyrics?

A two-line stanza

B ten-line stanza

C two-line couplet with first line repeated

D four-line stanza

E two-line couplet with second line repeated

Question #35

The specific combinations of musical characteristics at the heart of jazz style—including polyrhythm, blue notes, timbre variation, and call and response—are the products of which cultural group?

A English

B Cuban

C South African

D Nigerian

E African American

Question #36

In “polishing” the rural blues that he heard in Mississippi, W. C. Handy did which of the following?

A He published sheet music.

B All of the answers are true

C He notated the music.

D He rehearsed it with his ensemble.

E He composed his own lyrics.

Question #37

W. C. Handy’s initial appreciation of the blues was based on its:

A high-class status

B connection to African traditions

C commercial appeal

D artistic merit

E virtuosity

Question #38

_______ _________ is the generalized name for the harmonic sequence underlying George Gershwin’s composition “I Got Rhythm.”

A Rhythm Chorus

B Bird Blues

C Standard Blues

D Popular Song

E Rhythm Changes

Question #39

In jazz, a repeating rhythmic and harmonic cycle is called a __________.

A turn

B verse

C chorus

D bridge

Question #40

Harmonic improvisation requires a performer to _____________.

A Embellish a composed melody.

B Abandon familiar musical elements in order to create something new.

C Improvise using only a single scale.

D Ignore the contributions and suggestions of the accompanists.

E Create new melodies that fit over the tune’s chord progression.

Question #41

Which rhythm section instrument plays the foundational role of sounding the root of each chord and keeping time with a continuous stream of notes?

A drums

B clarinet

C baritone saxophone

D trumpet

E bass

Question #42

What is the most common thirty-two-bar song form used by jazz musicians?

A AAAA

B AABA

C ABAC

D ABCD

E ABAB

Question #43

Which best describes the form of a twelve-bar blues chorus?

A three phrases of four measures each

B two six-measure phrases

C six two-measure phrases

D an eight-measure phrase followed by a four-measure phrase

E four phrases of three measures each

Question #44

Jazz concepts of form are derived from African music, where improvisation happens within:

A a precisely measured amount of clock time

B a carefully notated concert performance

C only the rarest or ritual practices

D a rhythmic cycle

F a harmonic sequence

Question #45

In jazz ensembles, bassists most often use _________ technique, plucking the strings with their fingers.

A staccato

B arco

C portamento

D legato

E pizzacato

Question #46

The relative speed of a performance’s steady “pulse rhythm” is commonly referred to as the piece’s

A meter

B rhythm

C harmony

D tempo

E dynamics

Question #47

Which part of the drum set consists of two cymbals controlled by a foot pedal?

A tam-tam

B high-hat

C crash cymbal

D ride cymbal

E splash cymbal

Question #48

Which brass instrument moves its slide to create a glissando?

A tuba

B clarinet

C trombone

D banjo

E trumpet

Question #49

A device inserted into the bell of a brass instrument to distort the sounds coming out is called

A valve

B key

C mute

D mouthpiece

E larynx

Question #50

The quality of sound that allows listeners to distinguish between a violin and a trumpet is referred to as:

A harmony

B timbre

C rhythm

D pitch

E melody

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CH 01-06 Review Quiz

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