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