CH 01-06 Review Quiz

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Question #1

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

A Louis Armstrong

B Duke Ellington

C Fletcher Henderson

D Paul Whiteman

E Bix Beiderbecke

Question #2

Which is NOT true of the Austin High Gang?

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

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

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

D Their ranks included only horn players

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 steady, on-the-beat background chords

B propulsive boogie-woogie patterns

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

D using tremolo to give the sense of no rhythmic movement

E slow-moving regular rhythms

Question #4

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

A Chicago

B New York

C Detroit

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

B established the development of technique as an end in itself

C established collective improvisation as the main kind of jazz improvisation

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

E wrote an influential series of guides to improvisation

Question #6

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

A transformed the social music of New Orleans into an art

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

C influenced popular and country performers with his phrasing and spontaneity

D became the most influential composer in the jazz community

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 constant left-hand tremolo

D slow-moving “walking” accompaniments

E regular left-hand alternation between bass notes and chords

Question #8

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

A Harlem

B Times Square

C Washington Heights

D Greenwich Village

E Upper West Side

Question #9

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

A black ensembles playing for white audiences

B white ensembles playing for black audiences

C integrated ensembles playing for integrated audiences

D integrated ensembles playing for white 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 show that Louis Armstrong was the “King of Jazz”

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

Question #11

How did Prohibition affect the jazz community?

A It encouraged musicians to avoid alcohol.

B All of the answers are true.

C It caused musicians to migrate away from larger cities.

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

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

Question #12

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

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

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

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

D It decentralized the jazz infrastructure across the country.

E It forced performers to improve their technique.

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 book publishers

C grand theaters

D radio networks

E record labels

Question #14

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

A The Bronx

B Manhattan

C Brooklyn

D Queens

F Staten Island

Question #15

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

A banjo

B saxophone

C piano

D bass

E clarinet

Question #16

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

A It included violin.

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

C It featured two clarinets.

D It featured two trombones.

E It featured two cornets.

Question #17

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

A They took place in Los Angeles.

B They took place in New Orleans.

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

D They took place in Chicago.

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

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 widespread segregation in the American south

C an increasing reliance on agricultural labor

D few opportunities for black Americans to own land

E fear generated by unequal protection under the law

Question #19

The most distinctive feature of New Orleans jazz is:

A collective improvisation

B frequent syncopations

C harmonic improvisation

D solo improvisation

E use of blue notes

Question #20

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

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

B present the melody with improvised variations

C arpeggiate the underlying harmony of the tune

D play a decorated bass line that includes glissandos

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

Question #21

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

A clarinet, flute, saxophone

B piano, tuba, drums

C trombone, tuba, banjo

D trumpet, clarinet, trombone

Question #22

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

A his ability to play two trumpets at once

B the understatement of his playing

C the fast passages in his playing

D his variations on march themes

E the loudness of his playing

Question #23

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

A Freddie Keppard

B Barney Bigard

C Joe Oliver

D Buddy Bolden

E Manuel Perez

Question #24

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

A monophonic – solo plus accompaniment

B monophonic—solo playing

C polyphonic—collective improvisation

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

D It avoids blue notes and other blues inflections.

E All of the answers are true

Question #26

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

A by playing concerts

B through publishing royalties

C by conducting a brass band

D through record sales

E by licensing his music for use in films

Question #27

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

A to improvise a march

B to subject it to a process of rhythmic complication

C to extend a short piece by repeating sections

D to perform it poorly

E to dance to it

Question #28

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

A large military-style band

B piano with banjo accompaniment

C small jazz combo

D string ensemble

E symphonic orchestra

Question #29

Which is NOT true of blackface minstrelsy?

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

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

C It was only performed in the American South.

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

E It generated negative racial stereotypes.

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 sponge

D mop

E dishrag

Question #31

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

A 50

B 150

C 200

D 100

E 250

Question #32

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

A They did not sell many copies.

B They were recordings of black music for black listeners.

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

D Many of the original recordings have been preserved.

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

Question #33

Which instrument was most important in accompanying country blues?

A saxophone

B trumpet

C guitar

D drums

E piano

Question #34

Which best describes the poetic form of blues lyrics?

A two-line stanza

B two-line couplet with first line repeated

C ten-line stanza

D two-line couplet with second line repeated

E four-line stanza

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 Cuban

B South African

C English

D African American

E Nigerian

Question #36

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

A He rehearsed it with his ensemble.

B He composed his own lyrics.

C He notated the music.

D All of the answers are true

E He published sheet music.

Question #37

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

A virtuosity

B artistic merit

C commercial appeal

D connection to African traditions

E high-class status

Question #38

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

A Standard Blues

B Popular Song

C Rhythm Chorus

D Bird Blues

E Rhythm Changes

Question #39

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

A turn

B chorus

C bridge

D verse

Question #40

Harmonic improvisation requires a performer to _____________.

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

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

C Ignore the contributions and suggestions of the accompanists.

D Embellish a composed melody.

E Improvise using only a single scale.

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 clarinet

B drums

C baritone saxophone

D bass

E trumpet

Question #42

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

A ABAC

B ABAB

C AABA

D ABCD

E AAAA

Question #43

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

A two six-measure phrases

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

C four phrases of three measures each

D three phrases of four measures each

E six two-measure phrases

Question #44

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

A a carefully notated concert performance

B a rhythmic cycle

C a harmonic sequence

D only the rarest or ritual practices

E a precisely measured amount of clock time

Question #45

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

A pizzacato

B portamento

C staccato

D legato

E arco

Question #46

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

A rhythm

B tempo

C harmony

D meter

E dynamics

Question #47

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

A high-hat

B ride cymbal

C tam-tam

D crash cymbal

E splash cymbal

Question #48

Which brass instrument moves its slide to create a glissando?

A trombone

B banjo

C clarinet

D trumpet

E tuba

Question #49

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

A larynx

B mute

C mouthpiece

D key

E valve

Question #50

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

A rhythm

B pitch

C melody

D harmony

E timbre

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CH 01-06 Review Quiz

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