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Quiz 60

Navigation   » List of Schools  »  Glendale Community College  »  Music  »  Music 120 – Music Appreciation  »  Fall 2019  »  Quiz 60

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

Question #1
Which describes the performing forces in Revueltas’s La noche de los Mayas?
A  string orchestra with bowed and plucked instruments: violins, guitars, vihuelas
B  string orchestra and piano
C  orchestra, piano, extended Latin percussion section
D  violins, trumpets, rhythm section
Question #2
Which describes the music of Silvestre Revueltas?
A  nationalist
B  modernist
C  both modernist and nationalist
D  neither modernist nor nationalist
Question #3
What musical characteristic does Revueltas use in his La noche de los Mayas that resemble the son?
A  ostinatos
B  shifting meters
C  heterophonic textures
D  modal harmonies
Question #4
The post-revolutionary period in Mexico is sometimes called the
A  “Mexico City Revival.”
B  “Aztec Renaissance.”
C  “New Mexico.”
D  “Mayan Renaissance.”
Question #5
The modern music traditions of Mexico
A  are rich and varied.
B  All possible answers.
C  embrace Amerindian cultures.
D  embrace Hispanic cultures.
Question #6
Strong feelings of patriotism arose in Mexico after the Revolution in 1910.
A  FALSE
B  TRUE
Question #7
In his early years, Silvestre Revueltas
A  was mentored by Aaron Copland.
B  toured Europe extensively as a concert pianist.
C  studied at the Paris Conservatory with Nadia Boulanger.
D  was a child prodigy on the violin.
Question #8
Revueltas was not politically active.
A  TRUE
B  FALSE
Question #9
Revueltas studied for a time in
A  the United States.
B  Paris.
C  Berlin.
D  Vienna.
Question #10
Mexican composers of the post-revolutionary period
A  wrote music only using traditional instruments of their ancestors.
B  tried to evoke, or suggest, the character of the native music.
C  All possible answers.
D  precisely notated and incorporated the folk melodies of the Amerindian people.
Question #11
Mexican composers have realized their nationalist approach largely through reference to
A  imported and adopted European music traditions.
B  musics from their northern neighbor.
C  All possible answers.
D  vernacular traditions.
Question #12
Despite their shared border, the culture and history of the U.S. and Mexico have not been intertwined.
A  TRUE
B  FALSE
Question #13
La noche de los Mayas contains an extended ________ section.
A  brass
B  percussion
C  woodwind
D  string
Question #14
La noche de los Mayas celebrates
A  the timeless traditions of Mexican weddings
B  the heritage of the Mayan empire.
C  the Day of the Dead.
D  African American heritage.
Question #15
In what ways is the music of La noche de los Mayas modernist?
A  use of trumpets and violins evokes mariachi music
B  connected to European traditions
C  draws on elements of traditional culture
D  music evokes a modern primitivism
Question #16
In La noche de los Mayas, how does the orchestra emulate the sound of a Mexican mariachi group?
A  All possible answers.
B  violins in thirds answered by brass
C  guitar and vihuela in musical conversation with the trumpets
D  use of guitarrón and vihuelas
Question #17
In La noche de los Mayas, Revueltas incorporated
A  instruments from the European orchestral tradition.
B  All possible answers.
C  a short dance sequence of the son.
D  Latin American instruments.
Question #18
In 1961, José Ives Limantour
A  arranged La noche de los Mayas into a four-movement suite.
B  discovered the score to La noche de los Mayas in Revueltas’s attic.
C  denounced La noche de los Mayas as primitive and abominable.
D  wrote an influential article praising the works of Revueltas, Chávez, and other Mexican nationalists.
Question #19
For what occasion or purpose did Revueltas compose La noche de los Mayas?
A  1939 film score
B  anniversary celebration of the Mexican Revolution
C  presidential inauguration
D  incidental music for a play by the same name
Question #20
“Mestizo realism” was a nationalist modernist movement that drew on elements of Mexico’s traditional cultures.
A  TRUE
B  FALSE
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