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 Their music was a rebellion against white middle class culture.

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

C Their ranks included only horn players

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

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

Question #3

Which of the following describes Earl Hines’s approach to rhythm?

A propulsive boogie-woogie patterns

B steady, on-the-beat background chords

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

D slow-moving regular rhythms

E using tremolo to give the sense of no rhythmic movement

Question #4

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

A New Orleans

B Chicago

C New York

D Detroit

Question #5

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

A wrote an influential series of guides to improvisation

B established collective improvisation as the main kind of jazz improvisation

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

D established the development of technique as an end in itself

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

Question #6

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

A became the most influential composer in the jazz community

B transformed the social music of New Orleans into an art

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

D influenced symphonic trumpet players with his vibrato

E influenced popular and country performers with his phrasing and spontaneity

Question #7

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

A regular left-hand alternation between bass notes and chords

B slow-moving “walking” accompaniments

C constant left-hand tremolo

D two-handed block chords

E fast right-hand arpeggios

Question #8

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

A Harlem

B Greenwich Village

C Upper West Side

D Times Square

E Washington Heights

Question #9

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

A black ensembles playing for white audiences

B integrated ensembles playing for integrated audiences

C white ensembles playing for black 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 demonstrate that only New Orleans jazz was the authentic jazz

B to show that white musicians could perform raucous improvisations

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

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

E to argue that the blues was the soul of jazz

Question #11

How did Prohibition affect the jazz community?

A It encouraged musicians to avoid alcohol.

B It caused musicians to migrate away from larger cities.

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

D All of the answers are true.

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 decentralized the jazz infrastructure across the country.

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

C It forced performers to improve their technique.

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

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

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 radio networks

C book publishers

D grand theaters

E record labels

Question #14

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

B Brooklyn

C The Bronx

D Queens

E Manhattan

F Staten Island

Question #15

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

A clarinet

B piano

C banjo

D bass

E saxophone

Question #16

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

A It featured two trombones.

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

C It featured two clarinets.

D It featured two cornets.

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 are the first significant racially integrated jazz recording sessions.

C They took place in New Orleans.

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

E They took place in Chicago.

Question #18

All of the following factors were causes of the Great Migration EXCEPT:

A an increasing reliance on agricultural labor

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

C widespread segregation in the American south

D fear generated by unequal protection under the law

E few opportunities for black Americans to own land

Question #19

The most distinctive feature of New Orleans jazz is:

A solo improvisation

B collective improvisation

C harmonic improvisation

D use of blue notes

E frequent syncopations

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 the melody with improvised variations

C arpeggiate the underlying harmony of the tune

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

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 trumpet, clarinet, trombone

B clarinet, flute, saxophone

C piano, tuba, drums

D trombone, tuba, banjo

Question #22

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

A the fast passages in his playing

B his variations on march themes

C his ability to play two trumpets at once

D the understatement of his playing

E the loudness of his playing

Question #23

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

A Buddy Bolden

B Freddie Keppard

C Manuel Perez

D Joe Oliver

E Barney Bigard

Question #24

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

A homophonic—solo plus accompaniment

B polyphonic—collective improvisation

C monophonic – solo plus accompaniment

E fully composed melodies and countermelodies

F monophonic—solo playing

Question #25

Why is Wilbur Sweatman’s “Down Home Rag” significant?

A It avoids blue notes and other blues inflections.

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

C It provides crucial evidence for the transition between ragtime and jazz.

D All of the answers are true

E It’s an early example of ragtime drumming.

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 subject it to a process of rhythmic complication

B to extend a short piece by repeating sections

C to improvise a march

D to dance to it

E to perform it poorly

Question #28

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

A piano with banjo accompaniment

B string ensemble

C symphonic orchestra

D large military-style band

E small jazz combo

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 generated negative racial stereotypes.

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

D It was only performed in the American South.

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 dishrag

B bucket

C sponge

D mop

E plunger

Question #31

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

A 50

B 100

C 150

D 250

E 200

Question #32

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

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

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

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 drums

B guitar

C piano

D trumpet

E saxophone

Question #34

Which best describes the poetic form of blues lyrics?

A ten-line stanza

B two-line couplet with first line repeated

C two-line stanza

D four-line stanza

E two-line couplet with second line repeated

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 English

B African American

C Nigerian

D Cuban

E South African

Question #36

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

A All of the answers are true

B He rehearsed it with his ensemble.

C He composed his own lyrics.

D He published sheet music.

E He notated the music.

Question #37

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

A connection to African traditions

B virtuosity

C artistic merit

D high-class status

E commercial appeal

Question #38

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

A Rhythm Chorus

B Standard Blues

C Rhythm Changes

D Popular Song

E Bird Blues

Question #39

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

A verse

B turn

C bridge

D chorus

Question #40

Harmonic improvisation requires a performer to _____________.

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

B Embellish a composed melody.

C Improvise using only a single scale.

D Ignore the contributions and suggestions of the accompanists.

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 baritone saxophone

B trumpet

C clarinet

D drums

E bass

Question #42

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

A ABAC

B ABCD

C AAAA

D AABA

E ABAB

Question #43

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

A two six-measure phrases

B three phrases of four measures each

C four phrases of three measures each

D six two-measure phrases

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

Question #44

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

A a rhythmic cycle

B a precisely measured amount of clock time

C a carefully notated concert performance

D a harmonic sequence

E only the rarest or ritual practices

Question #45

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

A legato

B portamento

C pizzacato

D staccato

E arco

Question #46

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

A meter

B harmony

C tempo

D dynamics

E rhythm

Question #47

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

A crash cymbal

B splash cymbal

C tam-tam

D ride cymbal

E high-hat

Question #48

Which brass instrument moves its slide to create a glissando?

A banjo

B clarinet

C trumpet

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 valve

B mouthpiece

C key

D larynx

E mute

Question #50

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

A melody

B pitch

C timbre

D harmony

E rhythm

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CH 01-06 Review Quiz

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