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| 1 | |
During the 1890s, a popular type of music that was based upon black traditions marked particularly important steps in the evolution of jazz. This type of music was |
| | A) | rock. |
| | B) | gospel. |
| | C) | rhythm-and-blues. |
| | D) | ragtime. |
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| 2 | |
A pre-jazz style that utilizes a syncopated melody accompanied by a steady beat in the bass is called |
| | A) | blues. |
| | B) | gospel. |
| | C) | country. |
| | D) | ragtime. |
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| 3 | |
Ragtime has the steady __________ meter of a military march. |
| | A) | duple |
| | B) | triple |
| | C) | quadruple |
| | D) | simple |
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| 4 | |
Many Europeans were introduced to ragtime by the traveling United States Marine Band led by |
| | A) | W. C. Handy. |
| | B) | Scott Joplin. |
| | C) | Louis Gottschalk. |
| | D) | John Philip Sousa. |
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| 5 | |
Claude Debussy was influenced by American ragtime. |
| | A) | True |
| | B) | False |
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| 6 | |
Treemonisha was an opera by the American composer |
| | A) | George Gershwin. |
| | B) | Scott Joplin. |
| | C) | Aaron Copland. |
| | D) | Charles Ives. |
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| 7 | |
__________ is remembered today as the King of Ragtime. |
| | A) | W. C. Handy. |
| | B) | Scott Joplin. |
| | C) | Claude Debussy. |
| | D) | Louis Gottschalk. |
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| 8 | |
__________ is often referred to as America's only truly indigenous music, unique to her culture and influential upon others. |
| | A) | Jazz |
| | B) | The musicals |
| | C) | The minstrel show |
| | D) | Rock 'n' roll |
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| 9 | |
Every style of jazz involves some degree of improvisation. |
| | A) | True |
| | B) | False |
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| 10 | |
The organizing structure around which jazz musicians improvise is a chart of patterns called |
| | A) | rhythms. |
| | B) | melody lines. |
| | C) | chord changes. |
| | D) | none of the above. |
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| 11 | |
Jazz harmony is always tonal. |
| | A) | True |
| | B) | False |
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| 12 | |
Jazz is the result of a unique blending in America of African harmony and instrumentation with European rhythmic and melodic techniques. |
| | A) | True |
| | B) | False |
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| 13 | |
All of the following are true of many jazz styles except |
| | A) | the melodies often use techniques derived from black African singing styles. |
| | B) | jazz musicians are constantly expanding their harmonic concepts. |
| | C) | jazz rhythms are generally regular and are simple to perform. |
| | D) | the mood of jazz may be bright or blue, the tempo fast or slow, and the instrumentation large or small. |
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| 14 | |
__________ evolved in the American South sometime after the Civil War, as newly emancipated blacks, struggling in a hostile environment, lamented their hard lot in a new form of solo song. |
| | A) | Rock music |
| | B) | Jazz |
| | C) | The blues |
| | D) | Gospel music |
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| 15 | |
Blue notes are variable pitches that occur on all of the following notes of the scale except the |
| | A) | tonic. |
| | B) | third. |
| | C) | fifth. |
| | D) | seventh. |
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| 16 | |
The classic form of the blues |
| | A) | is through-composed and improvised. |
| | B) | based on an AABC verse structure. |
| | C) | is strophic. |
| | D) | is based on just two chords: the tonic and the subdominant. |
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| 17 | |
Although it is closely related to its vocal model, the piano blues, also known as __________, is happy in mood and brisk in tempo. |
| | A) | jazz |
| | B) | rock |
| | C) | ragtime |
| | D) | boogie-woogie |
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| 18 | |
Boogie-woogie has an improvised, syncopated melody over a distinctive, rhythmic __________ repeated in the bass. |
| | A) | sequence |
| | B) | movement |
| | C) | ostinato |
| | D) | continuo |
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| 19 | |
After the Civil War, musical instruments left over from military bands were readily and cheaply available, and black musicians in the New Orleans area began to play them in their own style. |
| | A) | True |
| | B) | False |
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| 20 | |
Because its primary function is to provide accompaniment, the rhythm section in a jazz ensemble is the only part of the group that does not improvise. |
| | A) | True |
| | B) | False |
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| 21 | |
Since the 1950s, the __________ has been added to the wide variety of solo instruments used in a jazz ensemble. |
| | A) | saxophone |
| | B) | clarinet |
| | C) | trumpet |
| | D) | flute |
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| 22 | |
The first important center of jazz was in |
| | A) | Miami, Florida. |
| | B) | Cincinnati, Ohio. |
| | C) | Chicago, Illinois. |
| | D) | New Orleans, Louisiana. |
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| 23 | |
__________ was an important figure in the transition from ragtime to the New Orleans style of jazz. |
| | A) | Charlie Parker |
| | B) | George Gershwin |
| | C) | Duke Ellington |
| | D) | Jelly Roll Morton |
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| 24 | |
__________ was an early jazz soloist whose improvisations on trumpet and cornet combined technical brilliance, melodic inventiveness and extraordinary emotional depth. |
| | A) | Charlie Parker |
| | B) | Louis Armstrong |
| | C) | Duke Ellington |
| | D) | Jelly Roll Morton |
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| 25 | |
It was in __________ in the 1920s that white musicians first formed combos of their own. |
| | A) | Miami, Florida |
| | B) | Cincinnati, Ohio |
| | C) | Chicago, Illinois |
| | D) | New Orleans, Louisiana |
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| 26 | |
In the 1920s, white musicians first imitated the New Orleans style in what became known as __________ jazz. |
| | A) | blues |
| | B) | bebop |
| | C) | swing |
| | D) | Dixieland |
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| 27 | |
__________ jazz is exemplified by George Gershwin's Rhapsody in Blue. |
| | A) | Dixieland |
| | B) | Third stream |
| | C) | Boogie-woogie |
| | D) | Symphonic |
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| 28 | |
__________ made swing famous in the mid-1930s. |
| | A) | Benny Goodman |
| | B) | Charlie Parker |
| | C) | Jelly Roll Morton |
| | D) | Dizzy Gillespie |
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| 29 | |
Highly improvisatory, __________ has a fast tempo and a danceable beat, a "big band" version of what the early jazz musicians had been playing all along. |
| | A) | blues |
| | B) | bebop |
| | C) | swing |
| | D) | Dixieland |
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| 30 | |
__________ was an outstanding jazz pianist, big band leader, and arranger who also wrote a number of impressive concert works. |
| | A) | Benny Goodman |
| | B) | Charlie Parker |
| | C) | Louis Armstrong |
| | D) | Duke Ellington |
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| 31 | |
Charlie "Bird" Parker and the great jazz trumpet player __________ returned to the early ideals of jazz: improvisation, virtuosity, and close musical interaction within the ensemble. |
| | A) | John Coltrane |
| | B) | Ornette Coleman |
| | C) | Louis Armstrong |
| | D) | Dizzie Gillespie |
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| 32 | |
__________ is considered the first modern jazz. |
| | A) | Swing |
| | B) | Bebop |
| | C) | Free jazz |
| | D) | Third stream |
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| 33 | |
In the 1950s, __________ jazz offered a more subdued style with lyrical melodies, using instruments not commonly associated with jazz. |
| | A) | cool |
| | B) | free |
| | C) | blues |
| | D) | sweet |
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| 34 | |
Ornette Coleman and John Coltrane were among the leaders of __________ jazz in the 1960s. |
| | A) | cool |
| | B) | free |
| | C) | blues |
| | D) | sweet |
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| 35 | |
__________ music combines the instrumentation of concert music with the improvisation of jazz in a manner that preserves the style and integrity of each. |
| | A) | Cool |
| | B) | Fusion |
| | C) | Dixieland |
| | D) | Third stream |
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