CH 12-16 Review Quiz

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Question #1

All of the following contributed to the American embrace of bossa nova EXCEPT:

A Saxophonist Stan Getz recorded several bossa nova records after his association with guitarist Charlie Byrd.

B The Cuban Revolution led to an embargo on Cuban cultural imports.

C Bossa nova’s aggressive rhythms fit the revolutionary spirit of 1960s America.

D Touring musicians discovered the songs of Antonio Carlos Jobim.

Question #2

Bossa nova emerged in the 1950s as a new twist on which traditional Latin American tradition?

A merengue

B samba

C son

D salsa

Question #3

Which is NOT true of clave as used in Cuban music and Afro-Cuban jazz?

A It is an asymmetrical, two-measure rhythmic pattern.

B Clave originated in Cuba.

C Clave is the Spanish word for “keystone.”

D It is the foundation for the contrasting rhythms played by the rest of the ensemble.

Question #4

Which of the following was an American dance craze based on Cuban music?

A rumba

B cha-cha-cha

C all of the answers

D mambo

Question #5

What was Frank Sinatra’s primary goal as a singer?

A to sing long phrases without breathing

B to blend into the ensemble like an instrumentalist

C to communicate the meaning of the lyrics through his phrasing

D to perform with perfect rhythmic accuracy

Question #6

Which is NOT a reason why the 1950s are described as a golden age for singers of the great American songbook?

A Singers abandoned jazz and swing styles, updating the songbook with fresh new pop arrangements.

B A large repertory of high-quality songs had been created between the 1920s and the 1950s.

C There were many gifted vocalists.

D The rise of television helped sustain the careers of established performers.

Question #7

Which jazz label released the soul jazz hits “Watermelon Man,” “The Sidewinder,” and “Song for My Father” in the 1960s?

A Riverside

B Columbia

C Blue Note

D Prestige

Question #8

Through his use of bluesy piano chords and a group of background singers, Ray Charles maintained a close connection with which American musical tradition?

A ragtime

B bebop

C gospel

D blues

Question #9

Which bandleader is most closely associated with “jump” music, which grew into rhythm and blues?

A Louis Jordan

B Cab Calloway

C Louis Armstrong

D Lionel Hampton

Question #10

In Chapter 16, the textbook authors define “fusion” as all music situated on the boundary between jazz and:

A popular music

B classical music

C gospel music

D world music

Question #11

This musician single-handedly made the bass clarinet a significant instrument in jazz.

A John Coltrane

B Eric Dolphy

C Benny Goodman

D Sonny Rollins

Question #12

What1961 recording captured a thirty-seven minute collective improvisation by a group that Ornette Coleman referred to as his Double Quartet.

A Song X

B The Shape of Jazz to Come

C Tomorrow is the Question

D Free Jazz

Question #13

In the 1970s, musicians dedicated to free improvisation undertook a mass migration to establish the loft scene of which major city?

A Paris

B Chicago

C Los Angeles

D New York

Question #14

After studying black nationalism and Egyptian history, Sun Ra developed a personal mythology surrounding which planet?

A Saturn

B Earth

C Mars

D Mercury

Question #15

Which major jazz figure, who had established credentials by mastering bebop, served as an unofficial referee in debates about avant-garde jazz?

A Miles Davis

B Bill Evans

C John Coltrane

D Dizzy Gillespie

Question #16

Before leading his own ensemble, Cecil Taylor trained in what musical idiom?

A bebop

B classical

C blues

D swing

Question #17

What was the name of Ornette Coleman’s bassist on his 1959 album The Shape of Jazz to Come?

A Paul Chambers

B Charles Mingus

C Charlie Haden

D Scott La Faro

Question #18

Ornette Coleman’s 1959 residency at this New York club established him as a major player in avant-garde jazz and one of the most divisive figures of the era.

A Birdland

B The Village Vanguard

C The Five Spot

D Minton’s Playhouse

Question #19

Which of the following titles was NOT used to describe the avant-garde jazz of the 1960s?

A Black Music

B anti-jazz

C post-jazz

D free jazz

Question #20

The first wave of avant-garde art was inspired by all of the following innovations EXCEPT:

A he devastation of World War I

B the expansion of women’s rights

C the emergence of African American artists as equal to their white counterparts

D new technology that enabled rapid communication across long distances

Question #21

What is the original context of the term avant-garde?

A military

B philosophy

C theater

D visual art

Question #22

Which John Coltrane album was dedicated to a spiritual higher power, or G-d?

A My Favorite Things

B A Love Supreme

C Sun Ship

D Giant Steps

Question #23

Who were the saxophonists on Kind of Blue?

A Charlie Parker and Lester Young

B Cannonball Adderley and John Coltrane

C Sonny Rollins and Sonny Stitt

D Lee Konitz and Gerry Mulligan

Question #24

Who was the drummer in Miles Davis’ first great quintet?

A Tony Williams

B Philly Jo Jones

C Jimmy Cobb

D Elvin Jones

Question #25

Which musician served as a primary composer within Miles Davis’s second great quintet?

A Miles Davis

B Wayne Shorter

C Gil Evans

D John Coltrane

Question #26

Which John Coltrane composition is considered a test pattern for music students attempting to master fast-moving harmonies?

A Blue Trane

B So What

C Ascension

D Giant Steps

Question #27

Which Bill Evans composition, featured on Kind of Blue, makes use of a ten-measure chord sequence with no obvious beginning or ending?

A Blue in Green

B So What

C Very Early

D Freddie Freeloader

Question #28

Miles Davis and Gil Evans conceived of Miles Ahead as an extension and expansion of which earlier recording?

A Milestones

B Sketches of Spain

C The Birth of the Cool

D Kind of Blue

Question #29

Which of the following is NOT the title of an album recorded by Miles Davis’s first great quintet and released on the independent Prestige label?

A Cookin’

B Relaxin’

C Jammin’

D Workin’

Question #30

At age nineteen Miles Davis was hired to record with which bebop figure?

A Dizzy Gillespie

B Charlie Parker

C Max Roach

D Thelonious Monk

Question #31

Throughout his career, Miles Davis relentlessly experimented with each of the following elements except:

A melody

B instrumentation

C intonation

D harmony

Question #32

Why is Miles Davis considered the most important figure in postwar jazz?

A He was the most vocal advocate of Civil Rights.

B He was the most consistent in his musical output over two decades.

C He invented the theory behind modal jazz.

D He had a great capacity for change.

Question #33

This Miles Davis album popularized the modal approach to jazz improvisation.

A Birth of the Cool

B Milestones

C Walkin’

D Kind of Blue

Question #34

Thelonious Monk mentored this younger pianist helping to connect him/her to the inner circle of bebop innovators.

A Bud Powell

B Bill Evans

C Mary Lou Williams

D Marian McPartland

Question #35

George Russell’s Lydian Chromatic Concept forms the basis for which approach to jazz improvisation?

A bebop

B modalism

C fusion

D harmonic substitution

Question #36

All of the following are signature aspects of Gil Evans’s arrangements EXCEPT:

A generous use of counterpoint

B sonorous slow-moving chords

C a close musical connection to the harmonies and textures of the original composition

D a wide range of instrumental registers

Question #37

Although he composed original works, Gil Evans is known primarily as:

A an arranger

B a music theorist

C a pianist

D a concert organizer

Question #38

What was the political message of Charles Mingus’s “Fables of Faubus”?

A It criticized President Eisenhower.

B It was pro-integration.

C It was pro-communist.

D It was pro-women’s rights.

Question #39

In 1957, Thelonious Monk played a long engagement at the Five Spot with which important tenor saxophonist?

A John Coltrane

B Ben Webster

C Sonny Rollins

D Charlie Rouse

Question #40

Which is the most widely recorded of Thelonious Monk’s early compositions?

A Epistrophy

B Hackensack

C ’Round Midnight

D Ruby, My Dear

Question #41

Forward-thinking jazz composers of the 1950s combined modern jazz style with all of the following traditional elements EXCEPT:

A stride piano

B standard jazz and pop themes

C classical chamber music forms

D short breaks

Question #42

Which pianist worked to bring together the baroque polyphony of J. S. Bach and the rhythmic feeling of the blues.

A Horace Silver

B Lennie Tristano

C Dave Brubeck

D John Lewis

Question #43

Cool jazz and hard bop are divergent schools that both developed from the shared practices of ________ of the 1940s.

A Modal Jazz

B Swing

C Be bop

D Dixieland Jazz

Question #44

Which drummer’s band served as a training ground or showcase for many modern jazz musicians, including Freddie Hubbard, Wayne Shorter, Wynton Marsalis, Hank Mobley, and Cedar Walton?

A Kenny Clarke

B Max Roach

C Art Blakey

D Philly Jo Jones

Question #45

Which 1948 change in audio technology enabled musicians to release records with around twenty minutes of music per side?

A stereo recording

B 33 ⅓-rpm microgroove LPs

C 45-rpm records

D wire recorders

Question #46

Which school of 1950s jazz emphasized heavy, dark timbres; featured tenor saxophone more often than alto; and used an assertive, hard-swinging drumming style?

A Third Stream

B Modal Jazz

C Cool Jazz

D Hard Bop

Question #47

This arranger’s apartment on 55th Street in New York became an important meeting place for progressive musicians in the 1950s.

A Gunther Schuller

B John Lewis

C Gil Evans

D Claude Thornhill

Question #48

All of the following were creative goals of the Miles Davis Nonet EXCEPT:

A a balance between composition and improvisation

B an insistent pulse for dancers

C a more relaxed pace than bebop

D warm timbres emphasizing each instrument’s middle range

Question #49

When did the word “jazz” achieve its present-day historical meaning?

A in the 1920s, when New Orleans jazz began to spread worldwide

B in the late 1960s, when avant-garde improvisers began denying the influence of jazz

C during the Swing Era, when jazz was the nation’s popular music

D in the aftermath of bop, when the multiplicity of schools made a unifying term necessary

Question #50

Which of the following is NOT the ideological schism between fans of different schools of jazz performance?

A bebop fans shunning the 1960s avant-garde as noise

B hard bop fans shunning Dizzy Gillespie as a corporate sell-out

C swing fans shunning bebop as undanceable

D Dixieland fans shunning Louis Armstrong’s embrace of popular songs

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CH 12-16 Review Quiz

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