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Quiz 57

Navigation   » List of Schools  »  Glendale Community College  »  Music  »  Music 120 – Music Appreciation  »  Fall 2019  »  Quiz 57

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Below are the questions for the exam with the choices of answers:

Question #1
William Grant Still
A  looked to Harlem Renaissance artists and writers for inspiration
B  was a representative of the Harlem Renaissance.
C  broke racial barriers.
D  All possible answers.
Question #2
Why did Still favor the blues over spirituals as source material for his compositions?
A  He felt that the blues did not exhibit Caucasian influence.
B  He enjoyed text repetition.
C  He preferred 12-bar patterns.
D  All possible answers.
Question #3
Which is NOT true of William Grant Still?
A  He left college to work as a professional musician.
B  He studied the violin.
C  He studied composition in New York City.
D  He had little formal education.
Question #4
What was William Grant Still’s source of inspiration for his Suite for Violin?
A  African American artwork
B  essays from The New Negro
C  spirituals
D  Langston Hughes poetry
Question #5
The violin plays all of the following special effects in the last movement of Still’s Suite for Violin EXCEPT
A  col legno.
B  double stops.
C  glissandos.
D  trills.
Question #6
The third movement of Still’s Suite for Violin was inspired by
A  Gamin, a sculpture of a street-smart kid in Harlem, by Augusta Savage.
B  The Weary Blues, by Langston Hughes.
C  African Dancer, a sculpture by Richmond Barthé.
D  Mother and Child, a chalk on paper drawing by Sargent Johnson.
Question #7
The third movement of Still’s Suite for Violin and Piano is programmatic and is meant to evoke
A  the culture of Rochester.
B  Harlem nightclub life.
C  an African dancer.
D  Harlem “street urchins.”
Question #8
The third movement of Still’s Suite for Violin and Piano embraces blues and jazz resources utilizing all of the following except
A  modal harmonies.
B  improvisation.
C  call-and-response between violin and piano.
D  a syncopated violin line.
Question #9
The insistent bass in the last movement of William Grant Still’s Suite for Violin and Piano resembles which jazz piano style?
A  stride
B  montuno
C  Boogie-woogie
D  swing
Question #10
The ideas from ______ are credited with sparking the so-called Harlem Renaissance.
A  The New Negro
B  African Dancer
C  “How it Feels to Be Colored Me”
D  “The Negro Speaks of Rivers”
Question #11
The Harlem Renaissance took place in the
A  1820s and 30s.
B  1920s and 30s.
C  1950s and 60s.
D  1880s and 90s.
Question #12
The Harlem Renaissance
A  funded major renovations to theaters in upper Manhattan.
B  encouraged African Americans to embrace European traditions.
C  was inspired by fifteenth-century artists and composers.
D  was a cultural movement celebrating African American contributions.
Question #13
Early twentieth-century American composers
A  sought to define a unique tradition of American modernism.
B  fully embraced the modernism of the Second Viennese School.
C  continued in the German Romantic tradition.
D  wrote only “popular” music for mass markets.
Question #14
Still’s Suite for Violin and Piano contains how many movements?
A  four
B  one
C  two
D  three
Question #15
Where did William Grant Still grow up?
A  New Orleans, Louisiana
B  Pittsburgh, Pennsylvania
C  St. Louis, Missouri
D  Little Rock, Arkansas
Question #16
In the third movement of his Suite for Violin and Piano, Still composed melodies featuring lowered thirds and sevenths, typical of the blues.
A  FALSE
B  TRUE
Question #17
From where does “Harlem stride piano” originate?
A  the swing era
B  parlor songs
C  ragtime
D  the blues
Question #18
Authors of essays in The New Negro wrote of racial equality and cultural pride in the black community.
A  FALSE
B  TRUE
Question #19
As a young person, William Grant Still was hired to write arrangements for
A  Duke Ellington.
B  the New York Philharmonic.
C  All possible answers.
D  radio and musical theater.
Question #20
Artists associated with the Harlem Renaissance were more interested in fostering musical traditions that they understood as more thoroughly African American—blues, jazz, and spirituals—than in encouraging the development of modernist art music.
A  FALSE
B  TRUE
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