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 Paul Whiteman

C Fletcher Henderson

D Duke Ellington

E Louis Armstrong

Question #2

Which is NOT true of the Austin High Gang?

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

B Their ranks included only horn players

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

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

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 using tremolo to give the sense of no rhythmic movement

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

C steady, on-the-beat background chords

D propulsive boogie-woogie patterns

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 New Orleans

B New York

C Chicago

D Detroit

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 established the development of technique as an end in itself

E wrote an influential series of guides to improvisation

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 influenced symphonic trumpet players with his vibrato

C influenced popular and country performers with his phrasing and spontaneity

D became the most influential composer in the jazz community

E transformed the social music of New Orleans into an art

Question #7

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

A fast right-hand arpeggios

B slow-moving “walking” accompaniments

C two-handed block chords

D regular left-hand alternation between bass notes and chords

E constant left-hand tremolo

Question #8

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

A Washington Heights

B Times Square

C Harlem

D Greenwich Village

E Upper West Side

Question #9

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

A white ensembles playing for black audiences

B integrated ensembles playing for integrated audiences

C white ensembles playing for white audiences

D black ensembles playing for white audiences

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

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

C to argue that the blues was the soul of jazz

D to show that white musicians could perform raucous improvisations

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

Question #11

How did Prohibition affect the jazz community?

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

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

C All of the answers are true.

D It caused musicians to migrate away from larger cities.

E It encouraged musicians to avoid alcohol.

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 drew audiences away from jazz and to sophisticated classical performances.

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

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 All of the answers are true.

B book publishers

C radio networks

D record labels

E grand theaters

Question #14

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

A Manhattan

B Staten Island

D Queens

E Brooklyn

F The Bronx

Question #15

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

A piano

B banjo

C saxophone

D clarinet

E bass

Question #16

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

A It featured two cornets.

B It included violin.

C It featured two trombones.

D It featured two clarinets.

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

Question #17

Why are Jelly Roll Morton’s 1923 recording sessions with the New Orleans Rhythm Kings significant?

A They took place in New Orleans.

B They took place in Chicago.

C They took place in Los Angeles.

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

E They are the first significant racially integrated jazz recording sessions.

Question #18

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

A fear generated by unequal protection under the law

B an increasing reliance on agricultural labor

C few opportunities for black Americans to own land

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 solo improvisation

B harmonic improvisation

C use of blue notes

D frequent syncopations

E collective improvisation

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

C present the melody with improvised variations

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

E play a decorated bass line that includes glissandos

Question #21

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

A trombone, tuba, banjo

B clarinet, flute, saxophone

C trumpet, clarinet, trombone

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 understatement of his playing

C the fast passages in his playing

D his variations on march themes

E the loudness of his playing

Question #23

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

A Barney Bigard

B Buddy Bolden

C Freddie Keppard

D Joe Oliver

E Manuel Perez

Question #24

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

A monophonic—solo playing

B homophonic—solo plus accompaniment

D polyphonic—collective improvisation

E monophonic – solo plus accompaniment

F fully composed melodies and countermelodies

Question #25

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

A It’s an early example of ragtime drumming.

B It avoids blue notes and other blues inflections.

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

D All of the answers are true

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

Question #26

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

A through publishing royalties

B through record sales

C by playing concerts

D by conducting a brass band

E by licensing his music for use in films

Question #27

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

A to perform it poorly

B to dance to it

C to extend a short piece by repeating sections

D to subject it to a process of rhythmic complication

E to improvise a march

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 piano with banjo accompaniment

C string ensemble

D small jazz combo

E symphonic orchestra

Question #29

Which is NOT true of blackface minstrelsy?

A It was only performed in the American South.

B It generated negative racial stereotypes.

C It was originally performed by white performers in heavy black makeup.

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

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

Question #30

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

A sponge

B mop

C dishrag

D plunger

E bucket

Question #31

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

A 50

B 150

C 100

D 250

E 200

Question #32

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

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

B They did not sell many copies.

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

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 guitar

B saxophone

C trumpet

D piano

E drums

Question #34

Which best describes the poetic form of blues lyrics?

A two-line couplet with second line repeated

B four-line stanza

C two-line couplet with first line repeated

D two-line stanza

E ten-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 African American

C Nigerian

D English

E Cuban

Question #36

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

A He published sheet music.

B He composed his own lyrics.

C All of the answers are true

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 virtuosity

B high-class status

C commercial appeal

D connection to African traditions

E artistic merit

Question #38

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

A Standard Blues

B Rhythm Changes

C Rhythm Chorus

D Bird Blues

E Popular Song

Question #39

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

A bridge

B verse

C chorus

D turn

Question #40

Harmonic improvisation requires a performer to _____________.

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

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

C Embellish a composed melody.

D Ignore the contributions and suggestions of the accompanists.

E Improvise using only a single scale.

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 bass

C baritone saxophone

D drums

E clarinet

Question #42

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

A ABCD

B AABA

C ABAC

D AAAA

E ABAB

Question #43

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

A four phrases of three measures each

B six two-measure phrases

C two six-measure phrases

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

E three phrases of four measures each

Question #44

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

A a rhythmic cycle

B a carefully notated concert performance

C a harmonic sequence

E a precisely measured amount of clock time

F 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 staccato

C arco

D pizzacato

E portamento

Question #46

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

A dynamics

B tempo

C rhythm

D harmony

E meter

Question #47

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

A high-hat

B splash cymbal

C crash cymbal

D ride cymbal

E tam-tam

Question #48

Which brass instrument moves its slide to create a glissando?

A banjo

B trombone

C clarinet

D tuba

E trumpet

Question #49

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

A key

B valve

C mouthpiece

D mute

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 rhythm

C timbre

D melody

E pitch

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CH 01-06 Review Quiz

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