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 Fletcher Henderson

C Paul Whiteman

D Duke Ellington

E Bix Beiderbecke

Question #2

Which is NOT true of the Austin High Gang?

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

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

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

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 using tremolo to give the sense of no rhythmic movement

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

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 Detroit

C New Orleans

D New York

Question #5

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

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

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

C established collective improvisation as the main kind of jazz improvisation

D wrote an influential series of guides to improvisation

E established the development of technique as an end in itself

Question #6

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

A influenced popular and country performers with his phrasing and spontaneity

B became the most influential composer in the jazz community

C influenced symphonic trumpet players with his vibrato

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

E transformed the social music of New Orleans into an art

Question #7

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

A slow-moving “walking” accompaniments

B fast right-hand arpeggios

C regular left-hand alternation between bass notes and chords

D constant left-hand tremolo

E two-handed block chords

Question #8

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

A Times Square

B Greenwich Village

C Harlem

D Upper West Side

E Washington Heights

Question #9

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

A white ensembles playing for white audiences

B white ensembles playing for black audiences

C integrated ensembles playing for white audiences

D integrated ensembles playing for integrated audiences

E black 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 demonstrate that only New Orleans jazz was the authentic jazz

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

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

D to show that white musicians could perform raucous improvisations

E to argue that the blues was the soul of jazz

Question #11

How did Prohibition affect the jazz community?

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

B It caused musicians to migrate away from larger cities.

C It encouraged musicians to avoid alcohol.

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

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 decentralized the jazz infrastructure across the country.

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

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

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

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 grand theaters

B All of the answers are true.

C radio networks

D book publishers

E record labels

Question #14

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

A Manhattan

B Staten Island

C Queens

D The Bronx

F Brooklyn

Question #15

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

A piano

B bass

C banjo

D clarinet

E saxophone

Question #16

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

A It featured two clarinets.

B It featured two trombones.

C It featured two cornets.

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

E It included violin.

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 few opportunities for black Americans to own land

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

C fear generated by unequal protection under the law

D an increasing reliance on agricultural labor

E widespread segregation in the American south

Question #19

The most distinctive feature of New Orleans jazz is:

A use of blue notes

B frequent syncopations

C harmonic improvisation

D collective improvisation

E solo improvisation

Question #20

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

A play a decorated bass line that includes glissandos

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

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 the melody with improvised variations

Question #21

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

A trombone, tuba, banjo

B trumpet, clarinet, trombone

C clarinet, flute, saxophone

D piano, tuba, drums

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 fast passages in his playing

C the understatement of his playing

D the loudness of his playing

E his variations on march themes

Question #23

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

A Manuel Perez

B Joe Oliver

C Freddie Keppard

D Barney Bigard

E Buddy Bolden

Question #24

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

A polyphonic—collective improvisation

B homophonic—solo plus accompaniment

D monophonic—solo playing

E monophonic – solo plus accompaniment

F fully composed melodies and countermelodies

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 avoids blue notes and other blues inflections.

C All of the answers are true

D It’s an early example of ragtime drumming.

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 licensing his music for use in films

B by conducting a brass band

C through publishing royalties

D by playing concerts

E through record sales

Question #27

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

A to perform it poorly

B to dance to it

C to improvise a march

D to subject it to a process of rhythmic complication

E to extend a short piece by repeating sections

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 string ensemble

C symphonic orchestra

D piano with banjo accompaniment

E small jazz combo

Question #29

Which is NOT true of blackface minstrelsy?

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

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

C It was only performed in the American South.

D It generated negative racial stereotypes.

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 mop

B bucket

C sponge

D dishrag

E plunger

Question #31

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

A 100

B 50

C 250

D 200

E 150

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 They were recordings of black music for black listeners.

E Many of the original recordings have been preserved.

Question #33

Which instrument was most important in accompanying country blues?

A trumpet

B piano

C drums

D saxophone

E guitar

Question #34

Which best describes the poetic form of blues lyrics?

A ten-line stanza

B two-line couplet with second line repeated

C two-line couplet with first line repeated

D two-line stanza

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 South African

B English

C Nigerian

D African American

E Cuban

Question #36

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

A He composed his own lyrics.

B All of the answers are true

C He published sheet music.

D He notated the music.

E He rehearsed it with his ensemble.

Question #37

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

A high-class status

B virtuosity

C artistic merit

D connection to African traditions

E commercial appeal

Question #38

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

A Bird Blues

B Popular Song

C Standard Blues

D Rhythm Changes

E Rhythm Chorus

Question #39

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

A bridge

B chorus

C turn

D verse

Question #40

Harmonic improvisation requires a performer to _____________.

A Ignore the contributions and suggestions of the accompanists.

B Embellish a composed melody.

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

D Improvise using only a single scale.

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 trumpet

B baritone saxophone

C bass

D drums

E clarinet

Question #42

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

A ABCD

B ABAB

C AABA

D AAAA

E ABAC

Question #43

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

A four phrases of three measures each

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

C three phrases of four measures each

D two six-measure phrases

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 only the rarest or ritual practices

D a harmonic sequence

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 portamento

B legato

C arco

D staccato

E pizzacato

Question #46

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

A tempo

B dynamics

C meter

D rhythm

E harmony

Question #47

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

A splash cymbal

B crash cymbal

C tam-tam

D ride cymbal

E high-hat

Question #48

Which brass instrument moves its slide to create a glissando?

A trumpet

B banjo

C clarinet

D trombone

E tuba

Question #49

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

A mute

B mouthpiece

C valve

D key

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 melody

C timbre

D rhythm

E pitch

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