CH 06 READING AND LISTENING QUIZ - MUS112-N804_ Introduction to Jazz

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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 1/29 CH 06 READING AND LISTENING QUIZ 1 2 Your work has been saved and submitted Written Jan 27, 2024 12:23 AM - Jan 27, 2024 12:44 AM • Attempt 1 of 2 Attempt Score 43 / 47 - 91.49 % Overall Grade (Highest Attempt) 43 / 47 - 91.49 % Question 1 (Mandatory) 1 / 1 point (Q001) Although born in New Jersey, Count Basie is indelibly associated with a) Chicago. b) New York.
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 2/29 Hide ques±on 1 feedback Question 2 (Mandatory) 1 / 1 point (Q002) During the Swing Era, new musical influences came into jazz from Hide ques±on 2 feedback Question 3 (Mandatory) 0 / 1 point (Q003) The Southwest affected music nationally through c) New Orleans. d) Kansas City. FEEDBACK: Page 116-117 a) the Southwest: Missouri, Oklahoma, Texas. b) the Southwest: Arizona, New Mexico. c) the Midwest: Illinois, Ohio, Indiana. d) the Southeast: Georgia, South Carolina, Florida. FEEDBACK: Page 111 a) its complex written arrangements.
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 3/29 Hide ques±on 3 feedback Question 4 (Mandatory) 1 / 1 point (Q004) In boogie-woogie, the left hand divides each measure into ___ pulses. Hide ques±on 4 feedback Question 5 (Mandatory) 1 / 1 point (Q005) In boogie-woogie, the left hand features repeated rhythms, also known as b) its emphasis on collective improvisation. c) the piano style boogie-woogie. d) its complex written arrangements and the piano style boogie-woogie only. FEEDBACK: Page 111-112 a) two b) three c) four d) eight FEEDBACK: Page 111-112
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 4/29 Hide ques±on 5 feedback Question 6 (Mandatory) 1 / 1 point (Q006) This music producer spurred the boogie-woogie revival of the 1930s with his concert, "From Spirituals to Swing": Hide ques±on 6 feedback a) an ostinato. b) a cadenza. c) "chains." d) an ostinato and "chains" only. FEEDBACK: Page 111-112 a) Andy Kirk. b) John Hammond. c) Paul Whiteman. d) Benny Goodman. FEEDBACK: Page 112
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 5/29 Question 7 (Mandatory) 1 / 1 point (Q007) Which of the following bands began as a territory band in the Southwest? Hide ques±on 7 feedback Question 8 (Mandatory) 1 / 1 point (Q008) Mary Lou Williams was Hide ques±on 8 feedback a) Duke Ellington and his orchestra b) Andy Kirk and his Twelve Clouds of Joy c) The Fletcher Henderson Orchestra d) all of these FEEDBACK: Page 113 a) a stride pianist. b) a tenor saxophonist. c) a big-band arranger. d) a stride pianist and a big-band arranger only. FEEDBACK: Page 113-114
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 6/29 Question 9 (Mandatory) 1 / 1 point (Q009) In her later career, Mary Lou Williams Hide ques±on 9 feedback Question 10 (Mandatory) 1 / 1 point (Q010) Benny Moten was Hide ques±on 10 feedback a) was a devoted teacher of jazz history. b) was a leader in the bebop (modern jazz) movement. c) became increasingly active as a composer. d) all of these FEEDBACK: Page 113-114 a) the unelected political boss of Kansas City. b) a territory bandleader. c) a blues singer. d) all of these
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 7/29 Question 11 (Mandatory) 1 / 1 point (Q011) Many Kansas City bands featured head arrangements, which were Hide ques±on 11 feedback Question 12 (Mandatory) 1 / 1 point (Q012) Count Basie’s first hit was the following informal twelve-bar blues: FEEDBACK: Page 117 a) collectively composed by members of the band and not written down. b) special showcases written in Duke Ellington’s complex style. c) often created in jam sessions. d) collectively composed by members of the band and not written down and often created in jam sessions only. FEEDBACK: Page 117-118 a) "One O’Clock Jump." b) "Conga Brava." c) "Take the ‘A’ Train." d) "Blood Count."
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 8/29 Hide ques±on 12 feedback Question 13 (Mandatory) 1 / 1 point (Q013) Whose band featured the "All American Rhythm Section," known for its driving groove of four beats to a bar? Hide ques±on 13 feedback Question 14 (Mandatory) 1 / 1 point (Q014) Count Basie’s saxophone section included FEEDBACK: Page 120 a) Duke Ellington b) Andy Kirk c) Count Basie d) Benny Goodman FEEDBACK: Page 119 a) Buck Clayton and Harry "Sweets" Edison. b) Lester Young and Herschel Evans. c) Johnny Hodges and Harry Carney.
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 9/29 Hide ques±on 14 feedback Question 15 (Mandatory) 1 / 1 point (Q015) Lester Young was influenced by the lighter, vibratoless sound of this earlier saxophonist: Hide ques±on 15 feedback Question 16 (Mandatory) 1 / 1 point (Q016) Lester Young d) Coleman Hawkins and Benny Carter. FEEDBACK: Page 120 a) Sidney Bechet. b) Frankie Trumbauer. c) Coleman Hawkins. d) Ben Webster. FEEDBACK: Page 122 a) had a light sound, played rhythmically unpredictable phrases, and spoke a special slang. b) had a powerful sound with heavy vibrato and specialized in harmonic improvisation.
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 10/29 Hide ques±on 16 feedback Question 17 (Mandatory) 1 / 1 point (Q017) Lester Young’s light lyricism foreshadowed Hide ques±on 17 feedback Question 18 (Mandatory) 1 / 1 point (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." c) was a soloist with Duke Ellington whose solos had a romantic lyricism. d) played flashy passages in his upper register, often with growls. FEEDBACK: Page 122-123 a) cool jazz. b) jazz-rock fusion. c) boogie-woogie. d) all of these. FEEDBACK: Page 122-123
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 11/29 Hide ques±on 18 feedback Question 19 (Mandatory) 1 / 1 point (Q019) Duke Ellington Hide ques±on 19 feedback Question 20 (Mandatory) 1 / 1 point a) Lester Young b) Coleman Hawkins c) Duke Ellington d) Ben Webster FEEDBACK: Page 122-123 a) was a master of orchestration (combining the sounds of different instruments). b) was a great arranger, but little known as a composer. c) wrote not just for instruments, but for specific musicians in his band. d) was a master of orchestration (combining the sounds of different instruments) and wrote not just for instruments, but for specific musicians in his band only. FEEDBACK: Page 125-127
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 12/29 (Q020) This saxophonist, who was one of Duke Ellington’s chief soloists, stayed with the band for nearly five decades: Hide ques±on 20 feedback Question 21 (Mandatory) 1 / 1 point (Q021) Duke Ellington’s compositions included Hide ques±on 21 feedback a) Lester Young. b) Ben Webster. c) Johnny Hodges. d) Sidney Bechet. FEEDBACK: Page 128 a) "In the Mood." b) "One O’Clock Jump." c) "Conga Brava." d) all of these FEEDBACK: Page 130
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 13/29 Question 22 (Mandatory) 1 / 1 point (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: Hide ques±on 22 feedback Question 23 (Mandatory) 1 / 1 point (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"? Hide ques±on 23 feedback a) Black, Brown and Beige. b) "Black and Tan Fantasy." c) "Diminuendo and Crescendo in Blue." d) Rhapsody in Blue. FEEDBACK: Page 129 a) Count Basie b) Duke Ellington c) Fletcher Henderson d) Lester Young
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 14/29 Question 24 (Mandatory) 1 / 1 point (Q024) Duke Ellington’s trombonists included Hide ques±on 24 feedback Question 25 (Mandatory) 1 / 1 point (Q025) After a decline in popularity, what sparked a comeback for Duke Ellington and his orchestra? FEEDBACK: Page 129 a) "Tricky Sam" Nanton, Lawrence Brown, and Juan Tizol. b) Freddie Green, Walter Page, and Jo Jones. c) "Hot Lips" Page, Harry "Sweets" Edison, and Buck Clayton. d) Cootie Williams, Bubber Miley, and Rex Stewart. FEEDBACK: Page 128 a) An appearance at the Newport Jazz Festival in 1956. b) The reopening of the Cotton Club in 1950. c) Ellington’s movie debut in 1959. d) Ellington’s Pulitzer Prize in 1965.
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 15/29 Hide ques±on 25 feedback Question 26 (Mandatory) 1 / 1 point (Q026) Head arrangements were flexible, sometimes expanding to ten minutes in the heat of performance. Hide ques±on 26 feedback Question 27 (Mandatory) 1 / 1 point (Q027) Duke Ellington rarely wrote his music down, preferring to work by oral tradition. Hide ques±on 27 feedback Question 28 (Mandatory) 1 / 1 point (Q001) Listening Example 1 : "Walkin' and Swingin' " Timing: 1:41-2:15 The pianist and arranger in this recording of "Walkin' and Swingin'" is FEEDBACK: Page 132 True False FEEDBACK: Page 117-118 True False FEEDBACK: Page 125-127
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 16/29 Hide ques±on 28 feedback Question 29 (Mandatory) 1 / 1 point (Q002) The saxophone solo in this recording of "Walkin' and Swingin'" is accompanied by a) Jelly Roll Morton. b) Count Basie. c) Mary Lou Williams. d) King Oliver. FEEDBACK: Page 115 a) a trombone countermelody. b) rhythm changes. c) a time-line pattern. d) background riffs.
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 17/29 Hide ques±on 29 feedback Question 30 (Mandatory) 1 / 1 point (Q003) The groove in "Walkin' and Swingin'" is Hide ques±on 30 feedback Question 31 (Mandatory) 1 / 1 point (Q004) At the end of this excerpt of "Walkin' and Swingin'," FEEDBACK: Page 115 a) swing. b) boogie-woogie. c) Chicago style. d) melismatic. FEEDBACK: Page 115
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 18/29 Hide ques±on 31 feedback Question 32 (Mandatory) 0 / 1 point (Q005) All of the following techniques are heard in this excerpt of "Walkin' and Swingin'" except a) the brass and sax sections alternate riffs. b) the piano plays a boogie-woogie ostinato. c) the band switches meter (from duple to triple). d) the drummer trades fours with the soloists. FEEDBACK: Page 115-116 a) blue notes. b) call and response (alternating riffs). c) shout chorus. d) collective improvisation.
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 19/29 Hide ques±on 32 feedback Question 33 (Mandatory) 1 / 1 point (Q006) Listening Example 2 : "One O'Clock Jump" Timing: 1:53-2:26 The pianist and bandleader in this recording of "One O'Clock Jump" is Hide ques±on 33 feedback Question 34 (Mandatory) 0 / 1 point (Q007) The piano solo in this excerpt of "One O'Clock Jump" is notable for its FEEDBACK: Page 115-116 a) Mary Lou Williams. b) James P. Johnson. c) Duke Ellington. d) Count Basie. FEEDBACK: Page 121
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 20/29 Hide ques±on 34 feedback Question 35 (Mandatory) 1 / 1 point (Q008) In addition to the piano, the rhythm section of Count Basie's band includes a) use of harmonic substitutions. b) simplicity. c) boogie-woogie style. d) rhythmic density. FEEDBACK: Page 121 a) string bass, acoustic guitar, and drums. b) string bass and drums. c) string bass, banjo, and drums. d) acoustic guitar, drums, and tuba.
1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 21/29 Hide ques±on 35 feedback Question 36 (Mandatory) 1 / 1 point (Q009) The form of "One O'Clock Jump" is Hide ques±on 36 feedback Question 37 (Mandatory) 1 / 1 point (Q010) After the piano solo in this excerpt of "One O'Clock Jump," the trumpets FEEDBACK: Page 121 a) 12-bar blues. b) 32-bar AABA. c) march/ragtime form. d) ABAC. FEEDBACK: Page 121
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 22/29 Hide ques±on 37 feedback Question 38 (Mandatory) 1 / 1 point (Q011) Listening Example 3 : "Oh! Lady Be Good" Timing: 1:42-2:12 The saxophone soloist in this recording of "Oh! Lady Be Good" is a) do not play. b) play an elaborate solo. c) play a three-chord riff every measure. d) play the main melody. FEEDBACK: Page 121 a) Coleman Hawkins. b) Lester Young. c) Johnny Hodges. d) Roy Eldridge.
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 23/29 Hide ques±on 38 feedback Question 39 (Mandatory) 1 / 1 point (Q012) The form of "Oh! Lady Be Good" is Hide ques±on 39 feedback Question 40 (Mandatory) 1 / 1 point (Q013) The saxophone soloist's style in this excerpt of "Oh! Lady Be Good" is distinguished by his FEEDBACK: Page 124 a) 12-bar blues. b) march/ragtime form. c) AABA (32-bar pop song form). d) swing form. FEEDBACK: Page 124
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 24/29 Hide ques±on 40 feedback Question 41 (Mandatory) 1 / 1 point (Q014) The bassist in this excerpt of "Oh! Lady Be Good" plays Hide ques±on 41 feedback a) syncopation. b) strict adherence to the meter. c) unpredictable rhythm. d) syncopation and unpredictable rhythm only. FEEDBACK: Page 124 a) a walking bass line. b) a syncopated bass line. c) four even beats to the bar. d) a walking bass line and four even beats to the bar only.
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 25/29 Question 42 (Mandatory) 0 / 1 point (Q015) During the trumpet solo in this excerpt of "Oh! Lady Be Good," the saxophonist Hide ques±on 42 feedback Question 43 (Mandatory) 1 / 1 point (Q016) Listening Example 4 : "Conga Brava" Timing: 0:00-0:32 The bandleader and composer of "Conga Brava" is FEEDBACK: Page 124 a) plays riffs in the background. b) offers an elaborate countermelody. c) trades fours with the drummer. d) plays riffs in the background and trades fours with the drummer only. FEEDBACK: Page 124
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 26/29 Hide ques±on 43 feedback Question 44 (Mandatory) 1 / 1 point (Q017) The instrument playing a solo at the beginning of this recording of "Conga Brava" is a Hide ques±on 44 feedback a) Glenn Miller. b) Duke Ellington. c) Jelly Roll Morton. d) Count Basie. FEEDBACK: Page 130 a) valve trombone. b) cornet. c) trumpet. d) flugelhorn.
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 27/29 Question 45 (Mandatory) 1 / 1 point (Q018) The clarinet plays an improvised ______ in this excerpt of "Conga Brava." Hide ques±on 45 feedback Question 46 (Mandatory) 1 / 1 point (Q019) The trumpet section in this recording of "Conga Brava" makes prominent use of FEEDBACK: Page 130 a) ostinato b) countermelody c) block-chord riff d) glissando FEEDBACK: Page 130 a) timbre variation.
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1/27/24, 12:45 AM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137916/View 28/29 Hide ques±on 46 feedback Question 47 (Mandatory) 1 / 1 point (Q020) What normal feature of jazz is missing from this excerpt of "Conga Brava"? Hide ques±on 47 feedback b) polyphonic texture. c) stop-time. d) variable intonation. FEEDBACK: Page 130 a) walking bass b) block-chord texture c) polyrhythm d) chromatic harmony FEEDBACK: Page 130
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