Test 1

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Question #1

The Harlem speakeasy that launched the career of Duke Ellington in 1927 was:

A The Palomar Ballroom

B The Mint

C The Paramount Ballroom

D The Cotton Club

Question #2

The Plessy v Ferguson case resulted in a landmark Supreme Court Decision in 1896 that codified (made the law of the land):

A Emancipation

B Forty Acres and a Mule

C Separate but Equal

D Desegregation

Question #3

The so-called “King of Ragtime” was:

A John Robideaux

B James Reece Europe

C Scott Joplin

D Buddy Bolden

Question #4

One of the first important female jazz soloists played with Joe (King) Oliver’s Creole Jazz Band in Chicago. Her name was:

A Jamie Harden

B Mamie Smith

C Mary Lou Williams

D Lil Hardin

Question #5

Bix Beiderbecke was an influential ________________________ who played briefly with bandleader Paul Whiteman before dying at the age age of 28.

A trumpeter

B flutist

C saxophonist

D trombonist

Question #6

The woman who came to be known as the “Empress of the Blues” in the 1920s and 30s due to her successful recordings and film appearances was:

A Ma Rainey

B Mamie Smith

C Bessie Smith

D Ida Cox

Question #7

In 1964, Louis Armstrong enjoyed his first number one hit. The name of that song was:

A It’s So Nice

B Wonderful World

C Hello Dolly

D Babes in Arms

Question #8

Tempo refers to the:

A the relative shape of the musical phrase

B Speed of the pulse

C the syncopation of the rhythmic pattern

D The organization of the pulse

Question #9

Duke Ellington’s principal collaborator in the 1920s was __________, who helped him compose such pieces as “East St. Louis Toodle-Oo,” “Black and Tan Fantasy,” and “Creole Love Call:

A Jelly Roll Morton

B Coleman Hawkins

C Bubber Miley

D Miley Cyrus

Question #10

Call and response is an often used technique in African and African American musical traditions?

A FALSE

B TRUE

Question #11

The Harlem Renaissance saw the rise of a young authors like Langston Hughes, Claude McKay, and Zora Neale Hurston.

A TRUE

B FALSE

Question #12

In the 1920s most white Americans were unaware of black jazz musicians such as King Oliver, Jelly Roll Morton, Sidney Bechet, and Louis Armstrong.

A FALSE

B TRUE

Question #13

This teenage tenor saxophonist from the Fletcher Henderson Band was profoundly affected by (and jealous of) the enthusiastic response of audiences to Louis Armstrong’s hot solo style in the mid 1920’s

A Coleman Hawkins

B Lester Young

C Young Jeezy

D Trummy Young

Question #14

This individual started as a young stride pianist from Washington D.C and has come to be known as the greatest composer in jazz history:

A Edward Kennedy (Duke) Ellington

B Willian Count) Basie

C Brian Blades

D Buddy Bolden

Question #15

The world outside of New Orleans was introduced to “scat singing” in a 1926 recording by Louis Armstrong entitled:

A Cornet Chop Suey

B Potato Head Blues

C Heebie Jeebies

D Cake Walking Babies from Home

Question #16

The “Charleston” was a popular dance in the 1920s inspired by the music of:

A James Janisse

B Jasper Johns

C James P Johnson

D Jay Z

Question #17

Before the 1880’s Congo Square was a place where . . . .

A slaves and later former slaves performed African influenced music and dance

B New Orleans blues bands played

C uptown blacks and downtown Creoles interacted socially

D brass band met for cutting contests

Question #18

Creoles of Color in New Orleans contributed _________________ to the development of early jazz

A syncopation

B Ragtime

C Classical music training

D Blues

Question #19

The _______________________ was a far more commonly used woodwind instrument than the __________________ in early New Orleans jazz groups

A violin/viola

B trumpet/trombone

C clarinet/saxophone

D oboe/bassoon

Question #20

The so-called “Austin High Gang” were high school musicians from which American city?

A New York

B St. Louis

C Detroit

D Chicago

Question #21

Which musician is associated with the city of New Orleans?

A Willie (The Lion) Smith

B James P Johnson

C Edward Kennedy (Duke) Ellington

D Jelly Roll Morton

Question #22

The musician usually called “The Father of the Harlem Stride Style of piano playing” is:

A James P Johnson

B Jerry Weldon

C Earl (Fatha) Hines

D William (Count) Basie

Question #23

Which of these players were early drummers:

A Earl Fatha Hines, Fats Waller

B Omer Simeon, Johnny Dodds

C Bix Beiderbecke, Louis Armstrong

D Zutty Singleton, Baby Dodds

Question #24

The first blues recording, performed by singer Mamie Smith and the Jazz Hounds in 1920, was entitled:

A Crazy Blues

B Down the Dirt Road Blues

C Down and Out Blues

D Un Poco Loco

Question #25

The period in American history referred to as “The Reconstruction Period” was America’s first attempt at integration. It extended from:

A 1961-65

B 1865-77

C 1877-90

D 1914-1919

Question #26

This pianist, whose career began as a member of Louis Armstrong’s Hot Five, played a style that was dubbed:

A trumpet style piano

B Harlem Ragtime

C trombone style

D piano style piano playing

Question #27

Around 1926 in Chicago, Louis Armstrong performed nightly with Erskine Tate’s Orchestra providing music for silent pictures at the _____________________.

A Vendome Theater

B Roseland Ballroom

C The Mann Theater

D Lincoln Gardens

Question #28

In 1924 Louis Armstrong married ________________________, who played an important role in convincing him to leave the shadow of Joe King Oliver and take a job with Fletcher Henderson in New York

A Fate Marable

B Lil Hardin

C Bessie Smith

D Alberta Hunter

Question #29

On New Year’s Eve 1913, Louis Armstrong’s life changed dramatically when:

A he got a job with Fate Marable on the Mississippi riverboats

B he left New Orleans for a life on the road

C Joe King Oliver asked him to join the Creole Jazz Band in Chicago

D he was sentenced to the Colored Waif’s Home for Boys

Question #30

Prior to a tour of England in the early 1920’s when he took up the soprano saxophone, Sidney Bechet’s primary instrument was:

A alto saxophone

B C melody saxophone

C trumpet

D clarinet

Question #31

Louis Armstrong’s reputation as a pivotal (central) figure in jazz history in large part on his Hot Five and Hot Seven recordings between 1926-29

A FALSE

B TRUE

Question #32

Jelly Roll Morton’s Red Hot Peppers was not a regular working band but existed solely to record Morton’s published compositions:

A FALSE

B TRUE

Question #33

Which of the following is a standard feature of early New Orleans style?

A Slow tempos

B Collective Improvisation

C Homophonic texture

D Written arrangements

Question #34

This former New Orleans native became famous through his nightly performances at Chicago’s Lincoln Gardens Ballroom from 1922 – 1924

A Sidney Bechet

B Freddie Keppard

C Jelly Roll Morton

D Joe (King) Oliver

Question #35

The first jazz record was made by _______________, in ______________.

A The Original Dixieland Jazz Band/1917

B The Creole Jazz Band/1923

C The Red Hot Peppers/1928

D Spike’s Seven Pods of Pepper/1922

Question #36

This classic blues diva recorded the first blues recording in 1920:

A Bessie Smith

B Mamie Smith

C Clara Smith

D Will Smith

Question #37

Which of the following is true of New Orleans “second line” funeral processions?

A They attracted no spectators

B They were somber, solemn, low key affairs from start to finish

C They featured lively, up tempo music, coming away from the burial site

D They discouraged improvisation

Question #38

According to legend, before the advent of recording, the “first” great New Orleans trumpet king and jazz band leader was:

A Buddy Bolden

B Joe Oliver

C John Robichaux

D Freddie Keppard

Question #39

The New Orleans red-light district (prostitution) that provided work for many early jazz soloists and bands was called:

A The French Quarter

B Hell’s Kitchen

C Storyville

D The Devil’s Throat

Question #40

Country blues appears to have developed primarily on/in:

A The Florida badlands

B The Missouri territory

C The Mississippi Delta

D The Texas panhandle

Question #41

Which of the following describes a key characteristic of the traditional music of West Africa:

A Rhythmic sophistication

B Frequent use of notation

C Polyphonic texture

D Harmonic sophistication

Question #42

The acclaimed African American composer of “Maple Leaf Rag” was:

A John Philip Sousa

B Scott Joplin

C Irving Berlin

D Stephen Foster

Question #43

This type of entertainment, developed in the 1840’s, featured white performers in blackface satirically impersonating blacks, joking, singing, dancing, and playing various string and percussion instruments:

A burlesque

B musical theater

C minstrelsy

D comedy

Question #44

After the Civil War, around 1871, African American Spirituals first attracted national and international attention through the triumphant international tour of:

A Daddy Rice

B Bert Williams

C Fisk Jubilee Singers

D Jack Johnson

Question #45

Which early black leader foreshadowed M.L. King by writing in “The Souls of Black Folk (1903) .” . .by every civilized and peaceful method we must strive for the rights which the world accords to men”

A Booker T Washington

B Martin Luther King

C W. E. B. DuBois

D Jack Johnson

Question #46

The “prehistory of jazz” refers to the period just before:

A the first jazz recording

B the word jazz began to be applied to a musical style

C the first jazz criticism

D the first jazz performance

Question #47

The form, or shape, of a piece is determined by 3 principles:

A monophony, homophony, and polyphony

B repetition, contrast, and variation

C melody, harmony, and rhythm

D texture, timbre, and dynamics

Question #48

The accent of rhythms that ordinarily go unaccented in western classical music is called:

A meter

B swing

C syncopation

D tempo

Question #49

The word we use to describe the organization of a the musical pulse is:

A tempo

B meter

C rhythm

D swing

Question #50

In its early period jazz provided light entertainment or dance music. By fulfilling a social purpose outside of itself it could be best described as:

A art music

B society music

C boogie down music

D functional music

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