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Quiz 57

Navigation   » List of Schools  »  Glendale Community College  »  Music  »  Music 120 – Music Appreciation  »  Fall 2019  »  Quiz 57

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Below are the questions for the exam with the choices of answers:

Question #1
William Grant Still
A  broke racial barriers.
B  All possible answers.
C  looked to Harlem Renaissance artists and writers for inspiration
D  was a representative of the Harlem Renaissance.
Question #2
Why did Still favor the blues over spirituals as source material for his compositions?
A  All possible answers.
B  He enjoyed text repetition.
C  He preferred 12-bar patterns.
D  He felt that the blues did not exhibit Caucasian influence.
Question #3
Which is NOT true of William Grant Still?
A  He studied composition in New York City.
B  He had little formal education.
C  He studied the violin.
D  He left college to work as a professional musician.
Question #4
What was William Grant Still’s source of inspiration for his Suite for Violin?
A  essays from The New Negro
B  African American artwork
C  spirituals
D  Langston Hughes poetry
Question #5
The violin plays all of the following special effects in the last movement of Still’s Suite for Violin EXCEPT
A  trills.
B  double stops.
C  glissandos.
D  col legno.
Question #6
The third movement of Still’s Suite for Violin was inspired by
A  Mother and Child, a chalk on paper drawing by Sargent Johnson.
B  Gamin, a sculpture of a street-smart kid in Harlem, by Augusta Savage.
C  The Weary Blues, by Langston Hughes.
D  African Dancer, a sculpture by Richmond Barthé.
Question #7
The third movement of Still’s Suite for Violin and Piano is programmatic and is meant to evoke
A  the culture of Rochester.
B  Harlem nightclub life.
C  Harlem “street urchins.”
D  an African dancer.
Question #8
The third movement of Still’s Suite for Violin and Piano embraces blues and jazz resources utilizing all of the following except
A  modal harmonies.
B  call-and-response between violin and piano.
C  a syncopated violin line.
D  improvisation.
Question #9
The insistent bass in the last movement of William Grant Still’s Suite for Violin and Piano resembles which jazz piano style?
A  Boogie-woogie
B  stride
C  swing
D  montuno
Question #10
The ideas from ______ are credited with sparking the so-called Harlem Renaissance.
A  African Dancer
B  “How it Feels to Be Colored Me”
C  “The Negro Speaks of Rivers”
D  The New Negro
Question #11
The Harlem Renaissance took place in the
A  1880s and 90s.
B  1920s and 30s.
C  1820s and 30s.
D  1950s and 60s.
Question #12
The Harlem Renaissance
A  was inspired by fifteenth-century artists and composers.
B  encouraged African Americans to embrace European traditions.
C  funded major renovations to theaters in upper Manhattan.
D  was a cultural movement celebrating African American contributions.
Question #13
Early twentieth-century American composers
A  sought to define a unique tradition of American modernism.
B  wrote only “popular” music for mass markets.
C  fully embraced the modernism of the Second Viennese School.
D  continued in the German Romantic tradition.
Question #14
Still’s Suite for Violin and Piano contains how many movements?
A  two
B  four
C  one
D  three
Question #15
Where did William Grant Still grow up?
A  Pittsburgh, Pennsylvania
B  Little Rock, Arkansas
C  New Orleans, Louisiana
D  St. Louis, Missouri
Question #16
In the third movement of his Suite for Violin and Piano, Still composed melodies featuring lowered thirds and sevenths, typical of the blues.
A  FALSE
B  TRUE
Question #17
From where does “Harlem stride piano” originate?
A  the swing era
B  the blues
C  parlor songs
D  ragtime
Question #18
Authors of essays in The New Negro wrote of racial equality and cultural pride in the black community.
A  FALSE
B  TRUE
Question #19
As a young person, William Grant Still was hired to write arrangements for
A  the New York Philharmonic.
B  Duke Ellington.
C  radio and musical theater.
D  All possible answers.
Question #20
Artists associated with the Harlem Renaissance were more interested in fostering musical traditions that they understood as more thoroughly African American—blues, jazz, and spirituals—than in encouraging the development of modernist art music.
A  FALSE
B  TRUE
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