CH 01-06 Review Quiz

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Question #1

In whose big band did Coleman Hawkins play for eleven years?

A Bix Beiderbecke

B Duke Ellington

C Paul Whiteman

D Louis Armstrong

E Fletcher Henderson

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

C Their music was a rebellion against white middle class culture.

D Their ranks included only horn players

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

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 slow-moving regular rhythms

D using tremolo to give the sense of no rhythmic movement

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

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 New York

C Detroit

D New Orleans

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 the development of technique as an end in itself

C established collective improvisation as the main kind of jazz improvisation

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

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

B transformed the social music of New Orleans into an art

C influenced popular and country performers with his phrasing and spontaneity

D became the most influential composer in the jazz community

E influenced symphonic trumpet players with his vibrato

Question #7

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

A two-handed block chords

B regular left-hand alternation between bass notes and chords

C slow-moving “walking” accompaniments

D fast right-hand arpeggios

E constant left-hand tremolo

Question #8

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

A Upper West Side

B Washington Heights

C Greenwich Village

D Times Square

E Harlem

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 black ensembles playing for white audiences

E integrated ensembles playing for integrated 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 reveal that jazz elements could form the foundation of highbrow art music

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

D to argue that the blues was the soul of jazz

E to show that white musicians could perform raucous improvisations

Question #11

How did Prohibition affect the jazz community?

A It encouraged musicians to avoid alcohol.

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

C All of the answers are true.

D It caused musicians to migrate away from larger cities.

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

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

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

D It decentralized the jazz infrastructure across the country.

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 radio networks

B book publishers

C record labels

D grand theaters

E All of the answers are true.

Question #14

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

A Manhattan

B Queens

D Brooklyn

E Staten Island

F The Bronx

Question #15

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

A saxophone

B piano

C banjo

D clarinet

E bass

Question #16

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

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

B It featured two cornets.

C It featured two clarinets.

D It included violin.

E It featured two trombones.

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 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 an increasing reliance on agricultural labor

B few opportunities for black Americans to own land

C fear generated by unequal protection under the law

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

E widespread segregation in the American south

Question #19

The most distinctive feature of New Orleans jazz is:

A collective improvisation

B harmonic improvisation

C frequent syncopations

D solo improvisation

E use of blue notes

Question #20

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

A arpeggiate the underlying harmony of the tune

B play a decorated bass line that includes glissandos

C play a countermelody in a register higher than the trumpet or cornet’s line

D present the melody with improvised variations

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

Question #21

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

A clarinet, flute, saxophone

B piano, tuba, drums

C trumpet, clarinet, trombone

D trombone, tuba, banjo

Question #22

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

A the understatement of his playing

B his ability to play two trumpets at once

C the loudness of his playing

D the fast passages in 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 Freddie Keppard

C Buddy Bolden

D Joe Oliver

E Barney Bigard

Question #24

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

A fully composed melodies and countermelodies

B polyphonic—collective improvisation

D monophonic – solo plus accompaniment

E homophonic—solo plus accompaniment

F monophonic—solo playing

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

C It avoids blue notes and other blues inflections.

D It’s an early example of ragtime drumming.

E All of the answers are true

Question #26

How did Scott Joplin make most of the money to support his compositional career?

A through record sales

B through publishing royalties

C by licensing his music for use in films

D by conducting a brass band

E by playing concerts

Question #27

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

A to perform it poorly

B to subject it to a process of rhythmic complication

C to improvise a march

D to dance to it

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 symphonic orchestra

C small jazz combo

D piano with banjo accompaniment

E string ensemble

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 originally performed by white performers in heavy black makeup.

E It was only performed in the American South.

Question #30

On Bessie Smith’s “Reckless Blues,” which household item does Louis Armstrong use to modify the timbre of his trumpet?

A bucket

B plunger

C dishrag

D sponge

E mop

Question #31

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

A 150

B 50

C 250

D 100

E 200

Question #32

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

A Many of the original recordings have been preserved.

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

C They were recordings of black music for black listeners.

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

E They did not sell many copies.

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 two-line stanza

B ten-line stanza

C four-line stanza

D two-line couplet with first line repeated

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 South African

B Cuban

C Nigerian

D African American

E English

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 notated the music.

C He rehearsed it with his ensemble.

D He composed his own lyrics.

E He published sheet music.

Question #37

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

A high-class status

B commercial appeal

C artistic merit

D virtuosity

E connection to African traditions

Question #38

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

A Bird Blues

B Rhythm Chorus

C Popular Song

D Standard Blues

E Rhythm Changes

Question #39

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

A turn

B verse

C bridge

D chorus

Question #40

Harmonic improvisation requires a performer to _____________.

A Create new melodies that fit over the tune’s chord progression.

B Ignore the contributions and suggestions of the accompanists.

C Improvise using only a single scale.

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

E Embellish a composed melody.

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 drums

C baritone saxophone

D clarinet

E bass

Question #42

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

A ABAB

B ABAC

C AAAA

D ABCD

E AABA

Question #43

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

A three phrases of four measures each

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

C six two-measure phrases

D two six-measure phrases

E four phrases of three measures each

Question #44

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

A only the rarest or ritual practices

B a carefully notated concert performance

C a rhythmic cycle

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 legato

B arco

C portamento

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 harmony

C dynamics

D rhythm

E meter

Question #47

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

A ride cymbal

B splash cymbal

C crash cymbal

D tam-tam

E high-hat

Question #48

Which brass instrument moves its slide to create a glissando?

A trumpet

B tuba

C banjo

D clarinet

E trombone

Question #49

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

A mouthpiece

B mute

C key

D larynx

E valve

Question #50

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

A timbre

B melody

C rhythm

D harmony

E pitch

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CH 01-06 Review Quiz

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