Test 1

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Question #1

The Harlem speakeasy that launched the career of Duke Ellington in 1927 was:

A The Cotton Club

B The Mint

C The Palomar Ballroom

D The Paramount Ballroom

Question #2

The Plessy v Ferguson case resulted in a landmark Supreme Court Decision in 1896 that codified (made the law of the land):

A Desegregation

B Forty Acres and a Mule

C Emancipation

D Separate but Equal

Question #3

The so-called “King of Ragtime” was:

A Scott Joplin

B John Robideaux

C James Reece Europe

D Buddy Bolden

Question #4

One of the first important female jazz soloists played with Joe (King) Oliver’s Creole Jazz Band in Chicago. Her name was:

A Jamie Harden

B Lil Hardin

C Mary Lou Williams

D Mamie Smith

Question #5

Bix Beiderbecke was an influential ________________________ who played briefly with bandleader Paul Whiteman before dying at the age age of 28.

A trumpeter

B saxophonist

C trombonist

D flutist

Question #6

The woman who came to be known as the “Empress of the Blues” in the 1920s and 30s due to her successful recordings and film appearances was:

A Bessie Smith

B Ma Rainey

C Ida Cox

D Mamie Smith

Question #7

In 1964, Louis Armstrong enjoyed his first number one hit. The name of that song was:

A Wonderful World

B It’s So Nice

C Babes in Arms

D Hello Dolly

Question #8

Tempo refers to the:

A the syncopation of the rhythmic pattern

B The organization of the pulse

C Speed of the pulse

D the relative shape of the musical phrase

Question #9

Duke Ellington’s principal collaborator in the 1920s was __________, who helped him compose such pieces as “East St. Louis Toodle-Oo,” “Black and Tan Fantasy,” and “Creole Love Call:

A Jelly Roll Morton

B Bubber Miley

C Coleman Hawkins

D Miley Cyrus

Question #10

Call and response is an often used technique in African and African American musical traditions?

A TRUE

B FALSE

Question #11

The Harlem Renaissance saw the rise of a young authors like Langston Hughes, Claude McKay, and Zora Neale Hurston.

A TRUE

B FALSE

Question #12

In the 1920s most white Americans were unaware of black jazz musicians such as King Oliver, Jelly Roll Morton, Sidney Bechet, and Louis Armstrong.

A FALSE

B TRUE

Question #13

This teenage tenor saxophonist from the Fletcher Henderson Band was profoundly affected by (and jealous of) the enthusiastic response of audiences to Louis Armstrong’s hot solo style in the mid 1920’s

A Lester Young

B Coleman Hawkins

C Trummy Young

D Young Jeezy

Question #14

This individual started as a young stride pianist from Washington D.C and has come to be known as the greatest composer in jazz history:

A Brian Blades

B Buddy Bolden

C Edward Kennedy (Duke) Ellington

D Willian Count) Basie

Question #15

The world outside of New Orleans was introduced to “scat singing” in a 1926 recording by Louis Armstrong entitled:

A Potato Head Blues

B Cake Walking Babies from Home

C Cornet Chop Suey

D Heebie Jeebies

Question #16

The “Charleston” was a popular dance in the 1920s inspired by the music of:

A James Janisse

B James P Johnson

C Jay Z

D Jasper Johns

Question #17

Before the 1880’s Congo Square was a place where . . . .

A slaves and later former slaves performed African influenced music and dance

B uptown blacks and downtown Creoles interacted socially

C brass band met for cutting contests

D New Orleans blues bands played

Question #18

Creoles of Color in New Orleans contributed _________________ to the development of early jazz

A Classical music training

B Ragtime

C syncopation

D Blues

Question #19

The _______________________ was a far more commonly used woodwind instrument than the __________________ in early New Orleans jazz groups

A clarinet/saxophone

B oboe/bassoon

C trumpet/trombone

D violin/viola

Question #20

The so-called “Austin High Gang” were high school musicians from which American city?

A St. Louis

B New York

C Chicago

D Detroit

Question #21

Which musician is associated with the city of New Orleans?

A Edward Kennedy (Duke) Ellington

B James P Johnson

C Jelly Roll Morton

D Willie (The Lion) Smith

Question #22

The musician usually called “The Father of the Harlem Stride Style of piano playing” is:

A James P Johnson

B Jerry Weldon

C Earl (Fatha) Hines

D William (Count) Basie

Question #23

Which of these players were early drummers:

A Zutty Singleton, Baby Dodds

B Bix Beiderbecke, Louis Armstrong

C Earl Fatha Hines, Fats Waller

D Omer Simeon, Johnny Dodds

Question #24

The first blues recording, performed by singer Mamie Smith and the Jazz Hounds in 1920, was entitled:

A Down and Out Blues

B Down the Dirt Road Blues

C Crazy Blues

D Un Poco Loco

Question #25

The period in American history referred to as “The Reconstruction Period” was America’s first attempt at integration. It extended from:

A 1961-65

B 1914-1919

C 1865-77

D 1877-90

Question #26

This pianist, whose career began as a member of Louis Armstrong’s Hot Five, played a style that was dubbed:

A trumpet style piano

B trombone style

C Harlem Ragtime

D piano style piano playing

Question #27

Around 1926 in Chicago, Louis Armstrong performed nightly with Erskine Tate’s Orchestra providing music for silent pictures at the _____________________.

A The Mann Theater

B Roseland Ballroom

C Vendome Theater

D Lincoln Gardens

Question #28

In 1924 Louis Armstrong married ________________________, who played an important role in convincing him to leave the shadow of Joe King Oliver and take a job with Fletcher Henderson in New York

A Alberta Hunter

B Lil Hardin

C Bessie Smith

D Fate Marable

Question #29

On New Year’s Eve 1913, Louis Armstrong’s life changed dramatically when:

A he got a job with Fate Marable on the Mississippi riverboats

B he was sentenced to the Colored Waif’s Home for Boys

C Joe King Oliver asked him to join the Creole Jazz Band in Chicago

D he left New Orleans for a life on the road

Question #30

Prior to a tour of England in the early 1920’s when he took up the soprano saxophone, Sidney Bechet’s primary instrument was:

A C melody saxophone

B alto saxophone

C trumpet

D clarinet

Question #31

Louis Armstrong’s reputation as a pivotal (central) figure in jazz history in large part on his Hot Five and Hot Seven recordings between 1926-29

A FALSE

B TRUE

Question #32

Jelly Roll Morton’s Red Hot Peppers was not a regular working band but existed solely to record Morton’s published compositions:

A TRUE

B FALSE

Question #33

Which of the following is a standard feature of early New Orleans style?

A Slow tempos

B Collective Improvisation

C Written arrangements

D Homophonic texture

Question #34

This former New Orleans native became famous through his nightly performances at Chicago’s Lincoln Gardens Ballroom from 1922 – 1924

A Sidney Bechet

B Freddie Keppard

C Jelly Roll Morton

D Joe (King) Oliver

Question #35

The first jazz record was made by _______________, in ______________.

A The Red Hot Peppers/1928

B The Creole Jazz Band/1923

C Spike’s Seven Pods of Pepper/1922

D The Original Dixieland Jazz Band/1917

Question #36

This classic blues diva recorded the first blues recording in 1920:

A Clara Smith

B Bessie Smith

C Mamie Smith

D Will Smith

Question #37

Which of the following is true of New Orleans “second line” funeral processions?

A They featured lively, up tempo music, coming away from the burial site

B They were somber, solemn, low key affairs from start to finish

C They discouraged improvisation

D They attracted no spectators

Question #38

According to legend, before the advent of recording, the “first” great New Orleans trumpet king and jazz band leader was:

A Freddie Keppard

B Buddy Bolden

C John Robichaux

D Joe Oliver

Question #39

The New Orleans red-light district (prostitution) that provided work for many early jazz soloists and bands was called:

A Storyville

B The French Quarter

C Hell’s Kitchen

D The Devil’s Throat

Question #40

Country blues appears to have developed primarily on/in:

A The Texas panhandle

B The Mississippi Delta

C The Florida badlands

D The Missouri territory

Question #41

Which of the following describes a key characteristic of the traditional music of West Africa:

A Rhythmic sophistication

B Polyphonic texture

C Harmonic sophistication

D Frequent use of notation

Question #42

The acclaimed African American composer of “Maple Leaf Rag” was:

A Scott Joplin

B Irving Berlin

C John Philip Sousa

D Stephen Foster

Question #43

This type of entertainment, developed in the 1840’s, featured white performers in blackface satirically impersonating blacks, joking, singing, dancing, and playing various string and percussion instruments:

A musical theater

B burlesque

C minstrelsy

D comedy

Question #44

After the Civil War, around 1871, African American Spirituals first attracted national and international attention through the triumphant international tour of:

A Fisk Jubilee Singers

B Bert Williams

C Jack Johnson

D Daddy Rice

Question #45

Which early black leader foreshadowed M.L. King by writing in “The Souls of Black Folk (1903) .” . .by every civilized and peaceful method we must strive for the rights which the world accords to men”

A W. E. B. DuBois

B Booker T Washington

C Martin Luther King

D Jack Johnson

Question #46

The “prehistory of jazz” refers to the period just before:

A the first jazz performance

B the word jazz began to be applied to a musical style

C the first jazz recording

D the first jazz criticism

Question #47

The form, or shape, of a piece is determined by 3 principles:

A texture, timbre, and dynamics

B monophony, homophony, and polyphony

C repetition, contrast, and variation

D melody, harmony, and rhythm

Question #48

The accent of rhythms that ordinarily go unaccented in western classical music is called:

A syncopation

B tempo

C swing

D meter

Question #49

The word we use to describe the organization of a the musical pulse is:

A swing

B rhythm

C meter

D tempo

Question #50

In its early period jazz provided light entertainment or dance music. By fulfilling a social purpose outside of itself it could be best described as:

A society music

B boogie down music

C art music

D functional music

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