Test
Jazz midterm
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Preguntas del test (174)
1The "Father of the Blues" was this cornet-playing bandleader who first heard the blues in a Mississippi train station
- AW. C. Handy
- BJohn Philip Sousa
- CScott Joplin
- DJames Reese Europe
2Which of the following genres is/are part of early African American folk culture?
- Athe minstrel show
- Bballads
- Cbrass bands
- Dall of these
3Country blues musicians changed the timbre and pitch of their guitars by using
- Aharmonicas
- Bbottlenecks
- Camplification
- Dcall and response
4The blues has ____-line stanzas
- Afour
- Bthree
- Ceight
- Dtwo
5Gertrude "Ma" Rainey was
- Aa minstrel show composer
- Ba vaudeville/classic blues artist
- Ca popular dance instructor
- Dthe leader of the Fisk Jubilee Singers
6James Reese Europe was
- Aa black musician who performed ragtime for white dance instructors and leader of the 369th Infantry Band, or "Hellfighters," during World War I only.
- Ba black musician who performed ragtime for white dance instructors.
- Cleader of the 369th Infantry Band, or "Hellfighters," during World War I.
- Da white blues singer.
7 What pattern of chord changes below is used in the twelve-bar blues form?
- AI I I IV V V I I IV V I I
- BI V I I II III IV V I I I I
- CI I I I IV IV I I V V I I
- DI I V V IV IV V V I I V I
8Scott Joplin’s most famous composition is
- A"The Charleston."
- B"The St. Louis Blues."
- C"The Buzzard Lope."
- D"The Maple Leaf Rag."
9A simple way of diagramming march form is
- AAAB.
- BA A B A.
- CA A B B C C D D.
- DABCDABCD.
10John Philip Sousa
- Awas the director of a prominent minstrel show band.
- Binvented the sousaphone.
- Ccomposed many marches, including "The Stars and Stripes Forever.
- D"invented the sousaphone and composed many marches, including "The Stars and Stripes Forever" only
11"Race records" were records kept by the census designed to prevent African Americans from voting in the South.
- AVerdadero
- BFalso
12The popularity of the trumpet (cornet), clarinet, and trombone in jazz was due mostly to the influence of
- Abrass bands.
- Bsymphony orchestras.
- Cthe African American folk tradition.
- Dall of these.
13By 1900, the syncopations of ragtime music had shifted from the banjo to the following instrument:
- Atrumpet.
- BPiano
- Cclarinet.
- DGuitar
14The idea that "Jazz is African American music" is rooted in race, not ethnicity.
- AVerdadero
- BFalso
15The minstrel show’s characteristics, including blackface, lingered in American show business until the early 1950s.
- AVerdadero
- BFalso
16Which is true about ragtime?
- AIts "ragged" polyrhythmic syncopation contributed to jazz and it was a form of composition first published in 1897 only.
- BIt was a form of composition first published in 1897.
- CIts "ragged" polyrhythmic syncopation contributed to jazz.
- DIt was deeply rooted in the blues.
17Secondary ragtime" is
- Aan early nickname for jazz.
- Ba polyrhythm, featuring a meter of three superimposed on a meter of two.
- Ca genre of ragtime recordings aimed at black markets
- Dthe concluding act of the minstrel show
18Among the African American dances that shocked and invigorated the country in the early twentieth century was
- Athe Charleston and the quadrille only.
- Bthe waltz.
- Cthe quadrille
- Dthe charleston
19"Jim Crow" was
- Athe legal system of post-Reconstruction segregation.
- Ba ballad celebrating the exploits of a "bad man.
- Ca standard character in the minstrel show and the legal system of post-Reconstruction segregation only.
- Da standard character in the minstrel show.
20Which is true about American brass bands?
- ALike symphony orchestras, they were highly professional and exclusive.
- BThey were common in African American as well as white communities.
- CThey prominently featured string instruments.
- DAll of these
21African American music is characterized by
- Apolyrhythm
- Bcall and response.
- Cblue notes.
- Dall of these.
22A turnaround is
- Aany original tune based on the harmonic progression of a popular song.
- Bthe contrasting section in AABA form.
- Calternating solos (i.e., trading fours).
- Dchords played in the last few bars of a chorus, leading on to the next chorus.
23Bessie Smith
- Amade nearly two hundred recordings and starred in the short film St. Louis Blues only.
- Blived to be eighty-six.
- Cstarred in the short film St. Louis Blues.
- Dmade nearly two hundred recordings.
24 (Q028) Who is the best-known composer of ragtime music?
- AJames Reese Europe
- BScott Joplin
- CLouis Armstrong
- DBessie Smith
25 (Q033) Which of the following is/are true of Wilbur Sweatman?
- AHe was known for playing three clarinets simultaneously.
- BHis career spanned the transition to the sale of recordings over sheet music.
- CHis spontaneous musical embellishments hinted at a new era of bluesy improvisation.
- DAll of these.
26 (Q001) Jazz is
- A"America’s classical music."
- Ba folk music.
- Ca popular music.
- Dall of these.
27 (Q010) Country blues were
- Ausually accompanied by guitar and performed by brass bands only.
- Busually accompanied by guitar.
- Cperformed by brass bands.
- Doften sung by women.
28 (Q013) Which chords or harmonies are used in the twelve-bar blues?
- AI, IV, and V
- BI, III, and V
- CI, II, and III
- DI, II, and IV
29 (Q006) The ______ was an ensemble from an African American college that performed spirituals before the general public as early as 1871.
- AFisk Jubilee Singers
- BSingers of the Georgia Sea Islands
- CHellfighters
- DVirginia Minstrels
30 (Q004) Field hollers and work songs
- Awere first invented by the Fisk Jubilee Singers.
- Bexpressed the loneliness and hardship of African Americans.
- Ccontributed to the music that became known as the blues.
- Dexpressed the loneliness and hardship of African Americans and contributed to the music that became known as the blues only.
31(Q030) In addition to its use in marches, "march form" was widely used in the following genre:
- Aragtime
- Bvaudeville blues.
- Cthe minstrel show.
- Dthe spiritual.
32 (Q018) The minstrel show
- Abanned African Americans from performance until the Civil Rights movement of the 1950s.
- Breinforced many degrading stereotypes of African Americans.
- Cwas established as early as the 1840s.
- Dwas established as early as the 1840s and reinforced many degrading stereotypes of African Americans only.
33 (Q005) What musical characteristic of the spiritual directly influenced jazz?
- Aovertones
- Bcall and response
- Creligious texts
- Duse of the trap set
34 (Q027) At the turn of the century, the term "ragtime" referred to
- Aa piano style.
- Ba type of song.
- Ca syncopated dance.
- Dall of these.
35 (Q011) Vaudeville blues - also known as classic or urban blues - songs were
- Asung only by male singers.
- Bperformed on black theater circuits.
- Creligious in nature.
- Dusually sung unaccompanied.
36 (Q014) In twelve-bar blues form,
- Athe overall chord progression is always the same.
- Beach new cycle modulates up a half step.
- Cthe overall chord progression is always the same and each twelve-bar cycle is called a chorus only.
- Deach twelve-bar cycle is called a chorus.
37 (Q018) Among the great stride virtuosos of the 1920s was the following pianist, whose composition "Carolina Shout" became a test-piece for elite New York pianists:
- ASidney Bechet.
- BJames P. Johnson
- CFletcher Henderson.
- DGeorge Gershwin.
38 (Q010) Among the jazz soloists added to the Paul Whiteman Band in the mid-1920s was/were
- AJames P. Johnson.
- BBix Beiderbecke.
- CBix Beiderbecke and James P. Johnson.
- DLouis Armstrong.
39 (Q021) The following soloist, whose unusual timbres arose from his mastery of mutes, enriched Duke Ellington’s early recordings:
- ALouis Armstrong.
- BBubber Miley.
- CKing Oliver.
- DArt Hickman.
40 (Q019) Stride style is defined by
- Aa left-hand technique, alternating bass notes and chords.
- Bits exclusive use of 12-bar blues form.
- Cthe absence of improvisation.
- Dall of these.
41 (Q015) Although its nightclub entertainment showcased the finest in Harlem jazz, the Cotton Club
- Awas not located in Harlem, but in nearby New Jersey.
- Bwas headlined by a white bandleader, Paul Whiteman.
- Cwas also known for its patronage of Harlem Renaissance poets.
- Drefused to admit black patrons.
42 (Q029) The Harlem Renaissance celebrated jazz musicians and bandleaders alongside its poets, painters, and playwrights.
- AVerdadero
- BFalso
43 (Q001) Jazz was transformed by the following technological advancements, new in the 1920s:
- Aradio, electrical recording, and movies with synchronized sound.
- Btelevision, space travel, and interstate highways.
- Cthe miniaturization of primary jazz instruments.
- Ddigitalization, sampling, and synthesizers.
44 (Q020) Which of the following styles would most likely be heard at a Harlem rent party?
- Astride piano
- Bbig band dance music
- Csymphonic jazz
- DNew Orleans style jazz
45 (Q028) Like Louis Armstrong, Fletcher Henderson came from a disadvantaged background in New Orleans, steeped in the blues.
- AVerdadero
- BFalso
46 (Q008) Bill Challis was the noted 1920s arranger for the band of
- AArt Hickman.
- BDon Redman.
- CFletcher Henderson.
- DPaul Whiteman.
47 (Q013) Among the musicians hired by Fletcher Henderson in the 1920s was
- AJelly Roll Morton.
- BDuke Ellington.
- CBenny Goodman.
- DLouis Armstrong.
48 (Q011) In the 1920s, Paul Whiteman’s band included
- Abrass.
- Bstrings.
- Csaxophones.
- Dall of these.
49 (Q004) This bandleader, widely known as the "King of Jazz," was an early pop superstar who championed "symphonic jazz":
- ADuke Ellington.
- BPaul Whiteman.
- CFletcher Henderson.
- DJames P. Johnson.
50 (Q002) Jazz nightlife was affected by the passage of the 18th Amendment to the Constitution, which
- Adeclared the Jim Crow system of segregation to be legal.
- Bgave black people the right to vote.
- Cprohibited the sale and manufacture of alcohol.
- Dallowed clubs to stay open after midnight.
51 (Q025) Among Ellington’s stylistic accomplishments is/are:
- AHe proved that jazz writing could be applied to pop songs.
- BHe expanded the influence of stride piano on jazz.
- CHe demonstrated the potential of the big band beyond the developments of Whiteman and Henderson.
- DAll of these.
52 (Q016) The player piano was especially useful for disseminating the following jazz style:
- ANew Orleans jazz.
- Bstride piano.
- Cbig-band jazz.
- Dcollective improvisation.
53 (Q005) George Gershwin composed and performed
- ARhapsody in Blue.
- BThe Jazz Singer.
- C"St. Louis Blues."
- D"Black and Tan Fantasy."
54 (Q009) Bing Crosby’s vocal style was inspired by
- ADuke Ellington.
- BBessie Smith.
- CPaul Whiteman.
- DLouis Armstrong.
55 (Q006) Rhapsody in Blue’s premiere in 1924 featured
- Athe Paul Whiteman orchestra.
- BDuke Ellington at the piano.
- Cthe Paul Whiteman orchestra and the Original Dixieland Jazz Band only.
- Dthe Original Dixieland Jazz Band.
56 (Q012) Fletcher Henderson
- Aused a big band that closely resembles the big band of today, including reeds, trumpets, trombones, and rhythm section.
- Bled the best jazz band around in the second half of the 1920s and used a big band that closely resembles the big band of today, including reeds, trumpets, trombones, and rhythm section only.
- Cled the best jazz band around in the second half of the 1920s.
- Dnever employed an arranger, preferring to write all the arrangements himself.
57 (Q024) Duke Ellington’s compositions number
- Abetween two hundred and three hundred.
- Bover a thousand.
- Cone hundred and thirty-three.
- Dunder seventy.
58 (Q003) This San Francisco bandleader was not famous, but established the saxophone section as part of a jazz ensemble:
- AJelly Roll Morton.
- BPaul Whiteman.
- CArt Hickman.
- DJoe "King" Oliver.
59 (Q022) The bandleader and composer Duke Ellington was also a
- Asolo clarinetist.
- Bsaxophone player.
- Cstride piano player.
- Dtrumpet player.
60 (Q014) The center of the songwriting industry in New York was known colloquially as
- ATin Pan Alley.
- Bthe Great White Way.
- CSwing Street.
- Dthe Harlem Renaissance.
61(Q027) Programmatic music
- Arefers to music that came from the song composers of Tin Pan Alley.
- Bis music written specifically for the stage.
- Cattempts to describe specific people, places, or events.
- Ddoes not feature any improvisation.
62 (Q007) Paul Whiteman hired ______ to be the full-time featured vocalist with his orchestra.
- ALouis Armstrong
- BBing Crosby
- CBessie Smith
- DWilliam Grant Still
63 (Q017) Compared to ragtime, stride style was
- Alivelier, faster, and more propulsive.
- Btypically played on the saxophone.
- Cnot typically embellished by improvisation.
- Dslower, more languid, and meant for listening rather than dancing.
64 (Q026) Duke Ellington’s career had a big break when he got a recurring headlining gig at
- Athe Kentucky Club.
- Bthe Renaissance Club.
- Cthe Cotton Club.
- Dthe 155th Street Club.
65 (Q010) Creoles contributed to jazz by
- Aemphasizing their African musical heritage.
- Bemphasizing their African musical heritage and vigorously supporting the music of Buddy Bolden only.
- Cadding their traditional musical training and ability to read music.
- Dvigorously supporting the music of Buddy Bolden.
66 (Q015) Sidney Bechet
- Awas the first great jazz soloist on saxophone.
- Bwas a shy, diffident man who preferred to submerge his lines in collective improvisation.
- Cnever left his hometown of New Orleans.
- Dall of these
67 (Q002) Before 1800, New Orleans was owned by
- ASpain.
- BFrance and Spain.
- CEngland.
- DFrance
68 (Q014) King Oliver’s Jazz Band
- Awas made up entirely of New Orleans musicians.
- Bfeatured Buddy Bolden on cornet.
- Cexplored complex Creole written composition.
- Dwas known for its use of polyphonic collective improvisation.
69 (Q003) Storyville was
- Athe town where Buddy Bolden was born.
- Ba district of legalized prostitution.
- Cthe headquarters of Gennett Records.
- Dthe black neighborhood on the South Side of Chicago.
70 (Q007) What kind(s) of musical form did New Orleans bands use?
- A32-bar AABA
- B12-bar blues and march/ragtime form only
- C12-bar blues
- Dmarch/ragtime form
71 (Q004) Which of the following contributed to New Orleans being the ideal place for jazz to be cultivated?
- AThe two cultures of "creoles of color" and "uptown negroes" led to a blending of musical style that influenced jazz.
- BIt was a port town, so many different kinds of people from different cultures mingled together.
- CAfricans were allowed to retain more of their own languages, beliefs, and customs than elsewhere in the South.
- DAll of these.
72 (Q005) "Tailgate trombone" features
- Aa crisp, sharply articulated attack.
- Ban extended high range, far above the clarinet.
- Cexaggerated glissandos.
- Da pure, orchestral timbre.
73 (Q009) Creoles were
- Aa racially mixed people of color.
- BProtestant and English-speaking residents of New Orleans.
- Cprotected by the 1896 Supreme Court decision Plessy v. Ferguson.
- Da racially mixed people of color and Protestant and English-speaking residents of New Orleans only.
74 (Q008) The Great Migration was a response to the manpower shortage created by
- Athe Great Depression.
- BWorld War I.
- Cthe Civil War.
- DWorld War II.
75 (Q017) Which musician, whose career ended with his nervous breakdown in 1906, is generally acknowledged as the first important musician in jazz?
- ABuddy Bolden
- BLouis Armstrong
- CJelly Roll Morton
- DSidney Bechet
76 (Q022) Which jazz band was the first to be recorded in 1917?
- AThe Hot Five
- BThe Creole Jazz Band
- CThe Red Hot Peppers
- DThe Original Dixieland Jazz Band
77 (Q024) Louis Armstrong got his first big break playing in the band of
- AFreddie Keppard.
- BJoe "King" Oliver.
- CJelly Roll Morton.
- DSidney Bechet.
78 (Q026) During the trio section of a piece, New Orleans bands often switched from collective improvisation to block-chord texture.
- AVerdadero
- BFalso
79 (Q023) This musician was known for his inventive use of mutes:
- AJoe "King" Oliver.
- BLouis Armstrong.
- CScott Joplin.
- DJelly Roll Morton.
80(Q020) At the time jazz started to be recorded in 1917, New Orleans style already featured
- Acollective improvisation.
- Bextended solo improvisation.
- Cglissandos, stop-time, and breaks.
- Dcollective improvisation and glissandos, stop-time, and breaks only.
81 (Q013) Joe "King" Oliver
- Aplayed the cornet.
- Bwas Louis Armstrong’s mentor.
- Cmoved his band from New Orleans to Chicago.
- Dall of these
82 (Q025) Today, New Orleans Style jazz is also known by the name of
- AMississippi River jazz.
- BDixieland jazz.
- Cragtime.
- Dpreservation jazz.
83 (Q016) When Louisiana and other southern states adopted the so-called Jim Crow laws, the special privileges of the Creoles ended in the year
- A1894
- B1865
- C1876.
- D1917
84 (Q019) ______ occurs when all the musicians in the band suddenly stop to let a single musician take a brief two-bar solo.
- ACall and response
- BA break
- CGlissando
- DA bomb
85 (Q006) During collective improvisation, the instruments are arranged in the following order (from top to bottom):
- Atrombone, trumpet (or cornet), and clarinet.
- Bclarinet, trumpet (or cornet), and trombone.
- Cclarinet, trombone, and trumpet (or cornet).
- Dtrumpet (or cornet), clarinet, and trombone.
86 (Q018) Which of the following instruments constitute the frontline of a New Orleans jazz band?
- Atrumpet (or cornet), trombone, and clarinet
- Bthe percussion section
- Ctrumpet (or cornet), saxophone, violin
- Dthree trumpets (or cornets)
87 (Q011) The Original Dixieland Jazz Band was a ______ band.
- Ablack
- BCreole
- Cwhite
- Dmixed-race
88 (Q001) Collective improvisation is
- Aa form of block-chord texture.
- Bwhen several instruments improvise their parts simultaneously and a defining characteristic New Orleans jazz only.
- Ca defining characteristic New Orleans jazz.
- Dwhen several instruments improvise their parts simultaneously.
89 (Q021) Freddie Keppard was
- Aone of the first jazz musicians to travel widely.
- Ba ragtime composer.
- Cthe leader of the Original Dixieland Jazz Band.
- Dan important early blues singer.
90 (Q012) Jelly Roll Morton
- Awas a Creole musician.
- Bwas a Creole musician and led the Red Hot Peppers only.
- Cled the Red Hot Peppers.
- Dplayed clarinet.
91 (Q006) This music producer spurred the boogie-woogie revival of the 1930s with his concert, "From Spirituals to Swing":
- ABenny Goodman.
- BAndy Kirk.
- CJohn Hammond.
- DPaul Whiteman.
92 (Q007) Which of the following bands began as a territory band in the Southwest?
- ADuke Ellington and his orchestra
- BAndy Kirk and his Twelve Clouds of Joy
- CThe Fletcher Henderson Orchestra
- Dall of these
93 (Q027) Duke Ellington rarely wrote his music down, preferring to work by oral tradition.
- AVerdadero
- BFalso
94 (Q026) Head arrangements were flexible, sometimes expanding to ten minutes in the heat of performance.
- AVerdadero
- BFalso
95 (Q002) During the Swing Era, new musical influences came into jazz from
- Athe Southwest: Arizona, New Mexico.
- Bthe Southeast: Georgia, South Carolina, Florida.
- Cthe Midwest: Illinois, Ohio, Indiana.
- Dthe Southwest: Missouri, Oklahoma, Texas.
96 (Q013) Whose band featured the "All American Rhythm Section," known for its driving groove of four beats to a bar?
- ABenny Goodman
- BDuke Ellington
- CCount Basie
- DAndy Kirk
97 (Q009) In her later career, Mary Lou Williams
- Awas a devoted teacher of jazz history.
- Bwas a leader in the bebop (modern jazz) movement.
- Cbecame increasingly active as a composer.
- Dall of these
98 (Q022) In 1943, Ellington wrote the following forty-eight-minute piece as a "history of the American Negro" and performed it in concert at Carnegie Hall:
- A"Diminuendo and Crescendo in Blue."
- B"Black and Tan Fantasy."
- CBlack, Brown and Beige.
- DRhapsody in Blue.
99 (Q011) Many Kansas City bands featured head arrangements, which were
- Aspecial showcases written in Duke Ellington’s complex style.
- Bcollectively composed by members of the band and not written down.
- Coften created in jam sessions.
- Dcollectively composed by members of the band and not written down and often created in jam sessions only.
100 (Q004) In boogie-woogie, the left hand divides each measure into ___ pulses.
- Afour
- Beight
- Cthree
- Dtwo
101 (Q010) Benny Moten was
- Athe unelected political boss of Kansas City.
- Ba territory bandleader.
- Ca blues singer.
- Dall of these
102 (Q020) This saxophonist, who was one of Duke Ellington’s chief soloists, stayed with the band for nearly five decades:
- ALester Young.
- BBen Webster.
- CSidney Bechet.
- DJohnny Hodges.
103 (Q005) In boogie-woogie, the left hand features repeated rhythms, also known as
- Aan ostinato and "chains" only.
- B"chains."
- Can ostinato.
- Da cadenza.
104 (Q021) Duke Ellington’s compositions included
- A"In the Mood."
- B"One O’Clock Jump."
- C"Conga Brava."
- Dall of these
105 (Q001) Although born in New Jersey, Count Basie is indelibly associated with
- ANew Orleans.
- BNew York.
- CKansas City.
- DChicago.
106 (Q003) The Southwest affected music nationally through
- Aits complex written arrangements and the piano style boogie-woogie only.
- Bits emphasis on collective improvisation.
- Cits complex written arrangements.
- Dthe piano style boogie-woogie.
107 (Q019) Duke Ellington
- Awas a master of orchestration (combining the sounds of different instruments).
- Bwas a master of orchestration (combining the sounds of different instruments) and wrote not just for instruments, but for specific musicians in his band only.
- Cwrote not just for instruments, but for specific musicians in his band.
- Dwas a great arranger, but little known as a composer.
108 (Q016) Lester Young
- Ahad a light sound, played rhythmically unpredictable phrases, and spoke a special slang.
- Bhad a powerful sound with heavy vibrato and specialized in harmonic improvisation.
- Cplayed flashy passages in his upper register, often with growls.
- Dwas a soloist with Duke Ellington whose solos had a romantic lyricism.
109 (Q024) Duke Ellington’s trombonists included
- AFreddie Green, Walter Page, and Jo Jones.
- B"Tricky Sam" Nanton, Lawrence Brown, and Juan Tizol.
- CCootie Williams, Bubber Miley, and Rex Stewart.
- D"Hot Lips" Page, Harry "Sweets" Edison, and Buck Clayton.
110 (Q014) Count Basie’s saxophone section included
- ALester Young and Herschel Evans.
- BJohnny Hodges and Harry Carney.
- CColeman Hawkins and Benny Carter.
- DBuck Clayton and Harry "Sweets" Edison.
111 (Q023) Which artist summed up his attitude toward rhythm with the aphorism, "It don’t mean a thing if it ain’t got that swing"?
- ALester Young
- BDuke Ellington
- CCount Basie
- DFletcher Henderson
112 (Q008) Mary Lou Williams was
- Aa stride pianist and a big-band arranger only.
- Ba big-band arranger.
- Ca stride pianist.
- Da tenor saxophonist.
113 (Q012) Count Basie’s first hit was the following informal twelve-bar blues:
- A"One O’Clock Jump."
- B"Conga Brava."
- C"Blood Count."
- D"Take the ‘A’ Train."
114 (Q017) Lester Young’s light lyricism foreshadowed
- Acool jazz.
- Bjazz-rock fusion.
- Cboogie-woogie.
- Dall of these.
115 (Q025) After a decline in popularity, what sparked a comeback for Duke Ellington and his orchestra?
- AEllington’s movie debut in 1959.
- BAn appearance at the Newport Jazz Festival in 1956.
- CEllington’s Pulitzer Prize in 1965.
- DThe reopening of the Cotton Club in 1950.
116 (Q018) This soloist, who pioneered the idea of "cool," once expressed this aesthetic by saying: "I’m looking for something soft. I can’t stand that loud noise. It’s got to be sweetness, you dig? Sweetness can be funky, filthy, or anything."
- ABen Webster
- BDuke Ellington
- CColeman Hawkins
- DLester Young
117 (Q015) Lester Young was influenced by the lighter, vibratoless sound of this earlier saxophonist:
- ABen Webster.
- BColeman Hawkins.
- CFrankie Trumbauer.
- DSidney Bechet.
118 (Q025) At the time of his death, Louis Armstrong
- Awas not yet acknowledged for his influence as a jazz singer.
- Bwas mourned worldwide and was not yet acknowledged for his influence as a jazz singer.
- Cwas mourned worldwide.
- Dhad not toured or recorded for over a decade.
119 (Q006) What did Louis Armstrong learn through his gig on the Mississippi riverboats?
- AHe improved his ability to read music.
- BHe learned to adapt New Orleans–style improvisation to written arrangements.
- CHe learned songs outside the New Orleans repertory.
- DAll of these answers.
120 (Q016) Bix Beiderbecke was
- Aa white cornet player from Iowa.
- Ba pianist from Pittsburgh.
- Cthe first important tenor saxophone soloist.
- Dan African American clarinetist from New Orleans.
121 (Q021) What was Louis Armstrong’s nickname?
- ADizzy
- BJelly Roll
- CKing
- DSatchmo
122 (Q022) Louis Armstrong’s All Stars
- Afeatured many innovative young players, including Miles Davis.
- Bwas a New Orleans band that Armstrong played with and led for the last twenty-five years of his life.
- Cplaced Armstrong’s solo style in the middle of the new bebop style.
- Dfeatured many innovative young players, including Miles Davis and placed Armstrong’s solo style in the middle of the new bebop style.
123 (Q023) When the Swing Era began in 1935, Louis Armstrong
- Atemporarily quit the business, only to return in 1947.
- Bcontinued to perform New Orleans–style polyphony and temporarily quit the business, only to return in 1947.
- Ccontinued to perform New Orleans–style polyphony.
- Dfronted his own big band and made dozens of hit records.
124 (Q002) Louis Armstrong was
- Aa cornet (trumpet) player.
- Ba jazz singer.
- Ca bandleader.
- Dall of these.
125 (Q012) A sideman is
- Aa member of a New Orleans "front line."
- Ba musician who has yet to learn to "swing."
- Ca member of a rhythm section.
- Dany musician employed by a bandleader.
126 (Q009) Louis Armstrong ended his association with Fletcher Henderson because
- Ahe made almost no recordings.
- BHenderson did not want Armstrong to sing.
- Cthe musicians in the band were unaffected by Armstrong’s talent.
- Dof all of these answers.
127 (Q007) During the 1920s, Louis Armstrong recorded with
- AFletcher Henderson.
- BBessie Smith.
- CEarl Hines.
- Dall of these individuals.
128 (Q004) Another impact Armstrong had on jazz came from his
- Ainfluential big-band arrangements.
- Bshunning of conventional pop songs.
- Cuse of nonsense, or "scat" syllables in his singing.
- Dall of these
129 (Q003) Louis Armstrong influenced jazz musicians by
- Aperforming with a rhythmic energy that was quickly imitated.
- Bdeemphasizing the role of the blues.
- Cabandoning improvisation.
- Dperforming with a rhythmic energy that was quickly imitated and abandoning improvisation.
130 (Q005) Louis Armstrong grew up in
- Aa poor neighborhood in New Orleans.
- Ba cotton plantation in Mississippi.
- Ca blue-collar area of Queens, New York.
- Dthe South Side of Chicago.
131 (Q011) Accompanying Louis Armstrong on the original Hot Five recordings were
- AFletcher Henderson, Fate Marable, Johnny Dodds, and Earl Hines.
- BLil Hardin, Kid Ory, Johnny St. Cyr, and Johnny Dodds.
- CColeman Hawkins, Bix Beiderbecke, Earl Hines, and Lil Hardin.
- DSidney Bechet, Joe "King" Oliver, Kid Ory, and Jelly Roll Morton.
132 (Q017) Bix Beiderbecke belongs to the first generation to learn jazz from
- Ahis parents.
- Bthe brothels of Storyville.
- Cthe stages of the minstrel show.
- Drecordings.
133 (Q008) Louis Armstrong landed his gig with Fletcher Henderson’s orchestra in 1924; he lasted
- Afourteen months.
- Bfive years.
- Cthree weeks.
- Dfor the remainder of his career.
134 (Q024) In his later years, Louis Armstrong
- Ahad a number one hit single in 1964 ("Hello, Dolly!").
- Bshocked the establishment by protesting Orval Faubus’s takeover of Central High School.
- Cabandoned his old-fashioned "grinning and shuffling" stage demeanor for a new, cool outlook.
- Dhad a number one hit single in 1964 ("Hello, Dolly!") and shocked the establishment by protesting Orval Faubus’s takeover of Central High School.
135 (Q015) Tremolo is
- Athe speedy alternation of two or more notes.
- Bthe main melody, or "head" of a tune.
- Can improvised solo that lasts more than one chorus.
- Dnotes of a chord played one after the other rather than simultaneously.
136 (Q020) Coleman Hawkins was an influential soloist on the
- Apiano.
- Btrombone
- Ctenor sax.
- Dcornet.
137 (Q019) What was distinctive about Bix Beiderbecke’s recording "Singin’ the Blues" when it was recorded in 1927?
- AIt features a "scat" vocal solo.
- BIt is a slow ballad.
- CThe melody of the song is immediately stated at the beginning.
- DIt is a slow ballad and the melody of the song is immediately stated at the beginning.
138 (Q001) ______ has been considered the most important individual in the history of jazz.
- ADuke Ellington
- BBuddy Bolden
- CEarl Hines
- DLouis Armstrong
139 (Q013) The Hot Five and Hot Seven recordings are influential because
- Athey feature soloists and highlight individual expression.
- Bthey were a racially integrated band.
- Cthey feature block-chord riffs in call-and-response patterns.
- Dthey epitomize the peak of traditional New Orleans polyphony.
140 (Q018) Frankie Trumbauer was
- Aa saxophonist whose delicate solos influenced later black soloists.
- Bthe most important soloist for the bandleader Fletcher Henderson.
- Ca leading exponent of the "Chicago style."
- Da saxophonist whose delicate solos influenced later black soloists and a leading exponent of the "Chicago style."
141 (Q014) In 1928, Armstrong recorded with this pianist from Pittsburgh, whose single-note improvisations matched his ability to create new melodic lines:
- ABix Beiderbecke.
- BEarl Hines.
- CJames P. Johnson.
- DJelly Roll Morton.
142 (Q010) Armstrong formed his Hot Five and Hot Seven bands in
- ANew York.
- BNew Orleans.
- CLos Angeles (Hollywood).
- DChicago
143 (Q024) The rhythm section of the Benny Goodman small group excluded what instrument?
- Abass
- Bdrums
- Cpiano
144 (Q017) Swing music appealed most dramatically to what demographic group?
- Ateenagers
- Bmiddle-aged businessmen
- Chousewives
- Dretired people
145 (Q005) Swing dancing began at the ______ in Harlem.
- ACotton Club
- BSavoy Ballroom
- CPalomar Ballroom
- DSunset Cafe
146 (Q022) What bandleader’s appearance at Carnegie Hall in 1938 helped to cement the respectability of jazz in America?
- AFletcher Henderson
- BBenny Goodman
- CCab Calloway
- DArtie Shaw
147 (Q003) Lionel Hampton played the
- Avibraphone.
- Btrumpet.
- Calto sax.
- Dclarinet
148 (Q010) Benny Goodman was a
- Adrummer.
- Btrombonist.
- Cbassist
- Dclarinetist
149 (Q027) What swing bandleader was a singer and entertainer who wowed both black and white audiences by evoking the Harlem underworld?
- ACab Calloway
- BBenny Goodman
- CLionel Hampton
- DJohn Hammond
150 (Q015) Which instrument did Glenn Miller play?
- Atrumpet
- Btrombone
- Ctenor sax
- Dpiano
151 (Q012) Although originally a drummer, ______ played vibraphone in the Benny Goodman Quartet.
- AMilt Jackson
- BGene Krupa
- CTeddy Wilson
- DLionel Hampton
152 (Q031) The popular appeal of Benny Goodman’s Trio and Quartet had a good deal to do with the extroverted energy of
- ALionel Hampton and Gene Krupa.
- BCab Calloway and Cozy Cole.
- CChick Webb and Artie Shaw.
153 (Q016) ______ big band enlisted in the U.S. Army as a unit in order to entertain the troops overseas.
- ACab Calloway’s
- BGlenn Miller’s
- CBenny Goodman’s
- DJimmie Lunceford’s
154 (Q032) The Depression had little effect on the record industry, which flourished despite the economic turmoil.
- AVerdadero
- BFalso
155 (Q028) In August, 1935
- AWorld War II ended, dispersing the popularity of swing bands.
- BBenny Goodman’s swing band broke through to mainstream success.
- CDuke Ellington wrote "It Don’t Mean a Thing (If It Ain’t Got that Swing)."
156 (Q002) The swing era took place during which two important historical events?
- AThe Great Migration and World War I
- BThe Great Depression and World War II
- CWorld War I and World War II
- DWorld War II and the Vietnam War
157 (Q029) Swing bands featured orchestras with sections of trumpets, saxophones, and
- Astrings.
- Bclarinets.
- Cguitars.
- Dtrombones
158 (Q026) What musician led a band that embodied the best in middle-class black dignity, with clever arrangements of "Annie Laurie" and "Organ Grinder’s Swing"?
- AJimmie Lunceford
- BBenny Goodman
- CFletcher Henderson
- DCab Calloway
159 (Q008) A composed "solo" played by an entire section in block-chord texture is called a
- Asoli
- Bchordal solo.
- Cpolysolo
- Dblock solo.
160 (Q011) Benny Goodman
- Afound great success after performing at the Palomar in Los Angeles.
- Bgrew up in the slums of Chicago.
- Chelped bring about the integration of black and white jazz musicians.
- DAll of the answers are correct.
161 (Q020) Fletcher Henderson’s arrangements relied heavily on
- Asimple riffs.
- Bcomplex harmonies and accompaniments.
- Ccall and response patterns.
- Dsimply riffs and call and response patterns.
162 (Q007) Which of the following changes occurred in the rhythm section during the 1930s?
- AThe string bass replaced the tuba.
- BThe guitar replaced the banjo.
- CThe percussion section replaced the drum set.
- DThe string bass replaced the tuba and the guitar replaced the banjo.
163 (Q001) The ______, more than any other decade, were dominated by big band music.
- A1940s
- B1920s
- C1930s
- D1910s
164 (Q025) Which white swing clarinetist and bandleader, who spent as much of his early career as he could in Harlem, once said "I was actually leading the life of a Negro musician"?
- AArtie Shaw
- BCab Calloway
- CGlenn Miller
- DBenny Goodman
165 (Q021) A "shout chorus" is
- Athe final, climactic chorus in an arrangement.
- Bthe chorus in which the vocalist appears.
- Cthe opening chorus in an arrangement.
166 (Q014) ______ was one of Artie Shaw’s biggest hits.
- A"Begin the Beguine"
- B"In the Mood"
- C"Annie Laurie"
- D"I’m Getting Sentimental Over You"
167 (Q004) The invention of ______ helped the record industry to recover in the mid-1930s.
- Aradio
- Bthe jukebox
- Ctelevision
- Dthe jukebox and television only
168 (Q013) John Hammond
- Achampioned black musicians in the recording studio.
- Bwas an important big-band leader.
- Cwas a nonmusician who promoted jazz and championed black musicians in the recording studio.
- Dwas a nonmusician who promoted jazz.
169 (Q030) The swing hit "Stomping at the Savoy" referred to
- Aa 1936 movie starring Benny Goodman.
- Bone of the major record companies.
- Ca 1939 race riot.
- Da New York dance hall.
170 (Q023) The Benny Goodman Quartet featured what African American pianist?
- ATeddy Wilson
- BEarl Hines
- CScott Joplin
- DJelly Roll Morton
171 (Q009) Which big band leader’s style of arranging became the standard for other swing arrangers?
- AFletcher Henderson
- BLouis Armstrong
- CCab Calloway
- DGlenn Miller
172 (Q018) In the late 1930s, Columbia, Victor, and Decca were the three most important
- Arecord companies.
- Bfilm studios.
- Ctelevision networks.
- Dradio networks.
173 (Q006) The Lindy Hop
- AAll of the answers are correct.
- Bcontained "breakaways."
- Cwas an improvised, African-style dance.
- Dfeatured a steady four beats.
174 (Q019) A "head arrangement"
- Ainvolved harmonizing block-chord riffs.
- BAll of the answers are correct.
- Cwas not written down.
- Dwas created by the entire band.
Información
- Descripción
- University Jass midterm Test sobre Jazz midterm, creado por Evelyn Rose el 11/10/2022.
- Autor
- Evelyn Rose
- Idioma
- English
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