CH 10 READING AND LISTENING QUIZ - MUS112-N804_ Introduction to Jazz

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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 1/29 CH 10 READING AND LISTENING QUIZ 1 2 Your work has been saved and submitted Written Feb 11, 2024 10:58 PM - Feb 11, 2024 11:19 PM • Attempt 1 of 2 Attempt Score 44 / 45 - 97.78 % Overall Grade (Highest Attempt) 44 / 45 - 97.78 % Question 1 (Mandatory) 1 / 1 point (Q001) In the wake of bebop, jazz composition in the 1950s a) supported composers who did not necessarily work as instrumentalists. b) incorporated techniques such as polyphony, stride piano, short breaks, and cadenzas.
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 2/29 Hide ques±on 1 feedback Question 2 (Mandatory) 1 / 1 point (Q002) Mechanical royalties from sales of a record are divided among all of the following, except Hide ques±on 2 feedback Question 3 (Mandatory) 1 / 1 point (Q003) After Duke Ellington, who of the following is the most performed of all jazz composers? c) incorporated approaches from classical and popular music. d) All of the answers are correct. FEEDBACK: Page 218 a) the song’s composer. b) the song’s lyricist. c) the song’s publisher. d) the instrumentalist or vocalist improvising on the recording. FEEDBACK: Page 217
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 3/29 Hide ques±on 3 feedback Question 4 (Mandatory) 1 / 1 point (Q004) The jazz composer Thelonious Monk wrote about ___ pieces. Hide ques±on 4 feedback Question 5 (Mandatory) 1 / 1 point a) Gil Evans b) George Russell c) Thelonious Monk d) Charles Mingus FEEDBACK: Page 218 a) 70 b) 200 c) 500 d) 1,000 FEEDBACK: Page 218
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 4/29 (Q005) Thelonious Monk’s professional career began in Hide ques±on 5 feedback Question 6 (Mandatory) 1 / 1 point (Q006) Monk’s approach to improvisation is striking in its use of Hide ques±on 6 feedback a) the pit band at the Cotton Club. b) the rhythm section at Minton’s Playhouse. c) the Benny Goodman Orchestra. d) the New York Philharmonic. FEEDBACK: Page 218 a) harmonic dissonance. b) fast, elusive rhythms. c) timbre variation. d) variable intonation. FEEDBACK: Page 220-221
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 5/29 Question 7 (Mandatory) 1 / 1 point (Q007) While his 1957 recordings with John Coltrane are deservedly famous, Monk’s longest and most consistent musical partnership was with this tenor saxophonist: Hide ques±on 7 feedback Question 8 (Mandatory) 1 / 1 point (Q008) Billy Strayhorn was Hide ques±on 8 feedback a) Charlie Rouse. b) Sonny Rollins. c) Lester Young. d) Dexter Gordon. FEEDBACK: Page 220 a) the clarinet soloist on many of Duke Ellington’s recordings from the Cotton Club. b) a member of Count Basie’s rhythm section. c) Duke Ellington’s co-composer and author of "Take the ‘A’ Train." d) a boogie-woogie pianist.
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 6/29 Question 9 (Mandatory) 1 / 1 point (Q009) Duke Ellington’s …and his mother called him Bill , featuring "Blood Count" and "Lotus Blossom," was a tribute album to Hide ques±on 9 feedback Question 10 (Mandatory) 1 / 1 point (Q010) Charles Mingus was a virtuoso on the FEEDBACK: Page 223-224 a) Billy Strayhorn. b) William "Count" Basie. c) Billie Holiday. d) Billy Eckstine. FEEDBACK: Page 224-225 a) bass. b) drums. c) soprano saxophone. d) piano.
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 7/29 Hide ques±on 10 feedback Question 11 (Mandatory) 1 / 1 point (Q011) Although Mingus made his reputation in New York City, he was raised and trained in Hide ques±on 11 feedback Question 12 (Mandatory) 1 / 1 point (Q012) Mingus’s "Fables of Faubus" was a protest sparked by FEEDBACK: Page 226 a) Los Angeles. b) Chicago. c) New Orleans. d) Kansas City. FEEDBACK: Page 226-227 a) the integration of Central High School in Little Rock, Arkansas. b) the lunch counter sit-ins in Greensboro, North Carolina. c) Rosa Parks’s defiance of segregation in Montgomery, Alabama.
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 8/29 Hide ques±on 12 feedback Question 13 (Mandatory) 1 / 1 point (Q013) Mingus consistently drew inspiration from the following Swing Era bandleader and composer: Hide ques±on 13 feedback Question 14 (Mandatory) 1 / 1 point (Q014) Mingus’s small ensemble, a loosely organized group of musicians willing to perform his work, was known as the d) the murder of Emmett Till in Mississippi. FEEDBACK: Page 228 a) Duke Ellington. b) Count Basie. c) Jelly Roll Morton. d) Gil Evans. FEEDBACK: Page 227 a) Jazz Workshop.
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 9/29 Hide ques±on 14 feedback Question 15 (Mandatory) 1 / 1 point (Q015) Although this musician was not a composer, he was someone who "elevated arranging virtually to the point of composition": Hide ques±on 15 feedback Question 16 (Mandatory) 1 / 1 point b) Rhythm-a-ning. c) Lydian Chromatic Concept. d) Jazz Messengers. FEEDBACK: Page 227 a) Gil Evans. b) Thelonious Monk. c) Charles Mingus. d) George Russell. FEEDBACK: Page 231
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 10/29 (Q016) George Russell’s explorations of jazz theory helped pave the way for this jazz technique: Hide ques±on 16 feedback Question 17 (Mandatory) 1 / 1 point (Q017) Which composer was among the first to pay tribute in his music to great jazz musicians of the past, such as Lester Young and Jelly Roll Morton? Hide ques±on 17 feedback a) bebop. b) Third Stream. c) modal jazz. d) soul jazz. FEEDBACK: Page 232 a) Thelonious Monk b) Charles Mingus c) Gil Evans d) George Russell FEEDBACK: Page 228
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 11/29 Question 18 (Mandatory) 1 / 1 point (Q018) One of the earliest, and best known, of Thelonious Monk’s compositions is Hide ques±on 18 feedback Question 19 (Mandatory) 1 / 1 point (Q019) In addition to his compositions, Thelonious Monk was known as a ______ soloist. Hide ques±on 19 feedback a) "Goodbye Porkpie Hat." b) "Hackensack." c) "’Round Midnight." d) "Body and Soul." FEEDBACK: Page 219 a) trombone b) trumpet c) tenor saxophone d) piano
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 12/29 Question 20 (Mandatory) 1 / 1 point (Q020) Gil Evans is known for his use of ______ form, which features an individual soloist. Hide ques±on 20 feedback Question 21 (Mandatory) 1 / 1 point (Q021) From the 1950s to the 1970s, Gil Evans had a long working relationship with the following musician: FEEDBACK: Page 218 a) blues b) concerto c) rondo d) sonata FEEDBACK: Page 231 a) Miles Davis. b) Duke Ellington. c) Lester Young. d) Charles Mingus.
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 13/29 Hide ques±on 21 feedback Question 22 (Mandatory) 1 / 1 point (Q022) George Russell wrote a book on music theory titled Hide ques±on 22 feedback Question 23 (Mandatory) 1 / 1 point (Q023) George Russell wrote "Concerto for Billy the Kid" to highlight the following soloist: FEEDBACK: Page 231 a) Pithecanthropus Erectus. b) Thesaurus of Scales and Melodic Patterns. c) Lydian Chromatic Concept of Tonal Organization. d) Formalized (Stochastic) Music. FEEDBACK: Page 232 a) Billy Strayhorn. b) Bill Evans. c) Gil Evans.
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 14/29 Hide ques±on 23 feedback Question 24 (Mandatory) 1 / 1 point (Q024) Thelonious Monk’s compositions rarely departed from which of the following form(s)? Hide ques±on 24 feedback Question 25 (Mandatory) 1 / 1 point (Q025) Which composer wrote a piece entitled "Gunslinging Bird," which had the following subtitle: "If Charlie Parker Were a Gunslinger, There’d Be a Whole Lot of Dead Copycats"? d) William "Count" Basie. FEEDBACK: Page 233 a) blues b) march/ragtime c) A A B A d) blues and A A B A FEEDBACK: Page 220 a) Bill Evans
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 15/29 Hide ques±on 25 feedback Question 26 (Mandatory) 1 / 1 point (Q001) Listening Example 1 : "Rhythm-a-ning" Timing: 2:46-3:17 and 0:00-0:30 The pianist in "Rhythm-a-ning" is Timing: 0:00-0:30 Hide ques±on 26 feedback b) Charles Mingus c) Gil Evans d) Billy Strayhorn FEEDBACK: Page 228 a) Bill Evans. b) Bud Powell. c) Thelonious Monk. d) John Lewis.
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 16/29 Question 27 (Mandatory) 1 / 1 point (Q002) The opening passage of "Rhythm-a-ning" features Timing: 0:00-0:30 Hide ques±on 27 feedback Question 28 (Mandatory) 1 / 1 point (Q003) The ensemble performing "Rhythm-a-ning" is a FEEDBACK: Page 222 a) quirky harmonic dissonance. b) syncopation. c) an ostinato. d) all of these. FEEDBACK: Page 222
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 17/29 Hide ques±on 28 feedback Question 29 (Mandatory) 1 / 1 point (Q004) Despite its unusual qualities, "Rhythm-a-ning" is based on Hide ques±on 29 feedback a) jazz combo. b) Third Stream group. c) big band. d) jazz workshop. FEEDBACK: Page 222 a) 12-bar blues. b) 32-bar popular song form, in particular George Gershwin's "I Got Rhythm." c) a fugue. d) gospel harmonies.
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 18/29 Question 30 (Mandatory) 1 / 1 point (Q005) The last portion of this excerpt of "Rhythm-a-ning" (where the saxophone enters) is known as Hide ques±on 30 feedback Question 31 (Mandatory) 1 / 1 point (Q006) Listening Example 2 : "Blood Count" Timing: 0:34-1:04 The composer of "Blood Count" is FEEDBACK: Page 222 a) the head. b) a send-off riff. c) the break. d) stop-time. FEEDBACK: Page 222
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 19/29 Hide ques±on 31 feedback Question 32 (Mandatory) 1 / 1 point (Q007) The alto saxophone featured at the beginning of "Blood Count" is played by a) Gil Evans. b) Duke Ellington. c) Billy Strayhorn. d) Charles Mingus. FEEDBACK: Page 224 a) Charles Mingus. b) Johnny Hodges. c) George Russell. d) Cannonball Adderley.
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 20/29 Hide ques±on 32 feedback Question 33 (Mandatory) 1 / 1 point (Q008) The melancholy mood of "Blood Count" reflects which situation? Hide ques±on 33 feedback Question 34 (Mandatory) 1 / 1 point (Q009) The saxophone melody in "Blood Count" features FEEDBACK: Page 226 a) It was composed in the face of the composer's failing health. b) It lamented the injustice faced by African American students in Little Rock, Arkansas. c) It expressed the resignation felt by soldiers after returning from World War II. d) It was based on an abstract painting. FEEDBACK: Page 225
2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 21/29 Hide ques±on 34 feedback Question 35 (Mandatory) 1 / 1 point (Q010) The ensemble accompanying the soloist in "Blood Count" is Hide ques±on 35 feedback a) chromatic lines. b) multiphonics. c) blue notes. d) chromatic lines and blue notes. FEEDBACK: Page 225 a) a quartet. b) a piano trio. c) a big band. d) a jazz workshop.
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 22/29 Question 36 (Mandatory) 1 / 1 point (Q011) Listening Example 3 : "Boogie Stop Shuffle" Timing: 0:34-1:04 The bassist and composer heard in "Boogie Stop Shuffle" is Hide ques±on 36 feedback Question 37 (Mandatory) 1 / 1 point (Q012) The form of "Boogie Stop Shuffle" is FEEDBACK: Page 225 a) Gil Evans. b) Jimmy Blanton. c) Percy Heath. d) Charles Mingus. FEEDBACK: Page 229
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 23/29 Hide ques±on 37 feedback Question 38 (Mandatory) 1 / 1 point (Q013) In the opening of this excerpt of "Boogie Stop Shuffle," the horns play an intricate melody over two choruses. How does the playing of the rhythm section change between the two choruses? a) 12-bar blues. b) 32-bar AABA. c) march/ragtime. d) none of these. FEEDBACK: Page 229 a) The bass switches from an ostinato to a walking bass. b) An electric guitar is added during the second chorus. c) The pianist begins to comp. d) The bass switches from an ostinato to a walking bass and the pianist begins to comp only.
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 24/29 Hide ques±on 38 feedback Question 39 (Mandatory) 1 / 1 point (Q014) The intricate horn line at the beginning of this excerpt of "Boogie Stop Shuffle" reflects the influence of which style? Hide ques±on 39 feedback Question 40 (Mandatory) 1 / 1 point (Q015) What happens underneath the saxophone solo in this excerpt of "Boogie Stop Shuffle"? FEEDBACK: Page 229 a) gospel b) stride piano c) bebop d) cool jazz FEEDBACK: Page 229
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 25/29 Hide ques±on 40 feedback Question 41 (Mandatory) 0 / 1 point (Q016) Listening Example 4 : "Concerto for Billy the Kid" Timing: 0:09-0:39 In the beginning of this excerpt of "Concerto for Billy the Kid," the two horns play a) The horns play an ostinato riff. b) The pianist changes the meter. c) The texture shifts from homophonic to monophonic. d) The drummer drops out. FEEDBACK: Page 229 a) at a dissonant interval. b) in octaves.
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 26/29 Hide ques±on 41 feedback Question 42 (Mandatory) 1 / 1 point (Q017) Underneath the two horns in "Concerto for Billy the Kid," one can hear Hide ques±on 42 feedback Question 43 (Mandatory) 1 / 1 point c) with the same rhythm. d) at a dissonant interval and with the same rhythm. FEEDBACK: Page 233 a) an ostinato bass line. b) a pedal point. c) monophonic texture. d) a string solo. FEEDBACK: Page 233
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 27/29 (Q018) When the two horns begin repeating a melody in "Concerto for Billy the Kid," the guitar and piano improvise a(n) Hide ques±on 43 feedback Question 44 (Mandatory) 1 / 1 point (Q019) The harmonic dissonances, unusual scales, open form, and heavy reliance on ostinato suggest that "Concerto for Billy the Kid" was composed by a) countermelody. b) block-chord riff. c) embouchure. d) ostinato. FEEDBACK: Page 233 a) Thelonious Monk. b) Duke Ellington.
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2/11/24, 11:20 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137928/View 28/29 Hide ques±on 44 feedback Question 45 (Mandatory) 1 / 1 point (Q020) The drum grooves of "Concerto for Billy the Kid" display the influence of what style? Hide ques±on 45 feedback c) George Russell. d) Charlie Parker. FEEDBACK: Page 233 a) Latin rhythms b) dropping bombs c) cool jazz d) modalism FEEDBACK: Page 233
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