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| 1 | |
Which of the following works was NOT an opera? |
| | A) | Blue Monday (1922) by George Gershwin |
| | B) | La Création du monde (1923) by Darius Milhaud |
| | C) | A Bayou Legend (1941) by William Grant Still |
| | D) | Porgy and Bess (1935) by George Gershwin |
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| 2 | |
Which orchestral work featured spirituals, blues, work songs, ragtime, and jazz as well as a section for tenor banjo? Who was the composer? |
| | A) | Blue Monday (1922) by George Gershwin |
| | B) | Afro-American Symphony (1930) by William Grant Still |
| | C) | A Bayou Legend (1941) by William Grant Still |
| | D) | Porgy and Bess (1935) by George Gershwin |
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| 3 | |
Who was Paul Laurence Dunbar? |
| | A) | Dunbar was a lyricist who worked with Cole Porter on a number of Broadway hits. |
| | B) | Dunbar was an African-American composer who created some of the first jazz-influenced choral works to be performed by major American choral associations. |
| | C) | Dunbar was a band leader who commissioned George Gershwin to write the Rhapsody in Blue. |
| | D) | Dunbar was a poet. Portions of his poems were chosen by William Grant Still to reflect the spirit of each of the movements of the Afro-American Symphony. |
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| 4 | |
Which composer wrote the film score for Lost Horizon (1935)? |
| | A) | William Grant Still |
| | B) | George Gershwin |
| | C) | Duke Ellington |
| | D) | Cole Porter |
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| 5 | |
Which composer wrote the film score for Pennies from Heaven (1936)? |
| | A) | George Gershwin |
| | B) | William Grant Still |
| | C) | Duke Ellington |
| | D) | Cole Porter |
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| 6 | |
Which composer wrote the film score for Stormy Weather (1943)? |
| | A) | George Gershwin |
| | B) | Duke Ellington |
| | C) | William Grant Still |
| | D) | Cole Porter |
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| 7 | |
Which composer wrote music for the Perry Mason television series? |
| | A) | William Grant Still |
| | B) | George Gershwin |
| | C) | Duke Ellington |
| | D) | Cole Porter |
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| 8 | |
Who composed Reminiscing in Tempo (1935)? |
| | A) | George Gershwin |
| | B) | Cole Porter |
| | C) | Duke Ellington |
| | D) | William Grant Still |
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| 9 | |
Who was the first African-American woman to write a symphonic work and have it performed by a major symphony orchestra? |
| | A) | F. B. Price |
| | B) | H. T. Burleigh |
| | C) | W. Dawson |
| | D) | W. G. Still |
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| 10 | |
What ensemble was created out of the need for more sound to fill large halls? |
| | A) | The Jazz Combo |
| | B) | The Dixieland Band |
| | C) | The Symphony Orchestra |
| | D) | The Big Band |
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| 11 | |
Which of the following works was composed by William Grant Still? |
| | A) | Afro-American Symphony |
| | B) | Blue Monday |
| | C) | Creole Rhapsody |
| | D) | Within the Quota |
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| 12 | |
This work is a piano concerto which begins with a clarinet trill and glissando and has four identifiable thematic sections. Which work fits this description? |
| | A) | William Grant Still's Afro-American Symphony (1930) |
| | B) | Duke Ellington's Creole Rhapsody (1931) |
| | C) | George Gershwin's Rhapsody in Blue (1924) |
| | D) | Cole Porter's Within the Quota (1923) |
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| 13 | |
Which statement correctly describes a stylistic difference between traditional jazz and the "big-band" swing style of jazz? |
| | A) | Big band swing had none of the rhythmic or melodic complexity of jazz. The fact that swing music is written for a large ensemble means that the music must be less complex so that the musicians can stay together. |
| | B) | Big band swing used collective improvisation for small groups of front line instruments. |
| | C) | Big band swing took the ragged rhythms of jazz and transformed them into the "businessman's bounce." |
| | D) | Big band swing does not use collective improvisation because it is just not practical with a large ensemble. Instead all music is written down except for improvised individual solos. |
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| 14 | |
"The Jazz Age" refers to at time when jazz spread from New Orleans to many parts of the country. When did this occur? |
| | A) | The 1930s |
| | B) | The 1920s |
| | C) | The 1940s |
| | D) | The 1950s |
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| 15 | |
How did the instrumentation of the Big Bands differ from that of the jazz combos? |
| | A) | Three or four instruments of the front line were replaced by sections of violins, trumpets, trombones, and clarinets. These melody instruments were supported by a rhythm section of piano, bass, and drums. |
| | B) | Three or four instruments of the front line were replaced by sections of several trumpets, trombones, clarinets, and/or saxophones. These melody instruments were supported by a rhythm section of piano, bass, and drums. |
| | C) | Three or four instruments of the front line were replaced by sections of several trumpets, trombones, clarinets, and/or saxophones. These melody instruments were supported by guitars and drums. |
| | D) | Three or four instruments of the front line were replaced by sections of several trumpets, trombones, clarinets, and/or saxophones. These melody instruments were supported by a electric bass, and drums. |
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