CH 11 READING AND LISTENING QUIZ - MUS112-N804_ Introduction to Jazz

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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 1/26 CH 11 READING AND LISTENING QUIZ 1 2 Your work has been saved and submitted Written Feb 17, 2024 12:23 PM - Feb 17, 2024 12:40 PM Attempt 1 of 2 Attempt Score 42 / 43 - 97.67 % Overall Grade (Highest Attempt) 42 / 43 - 97.67 % Question 1 (Mandatory) 1 / 1 point (Q001) Among Miles Davis’s nicknames was a) the Sorcerer. b) Mephistopheles.
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 2/26 Hide ques±on 1 feedback Question 2 (Mandatory) 1 / 1 point (Q002) Miles Davis’s most famous album was the culmination of his experiments with modal jazz: Hide ques±on 2 feedback Question 3 (Mandatory) 1 / 1 point (Q003) Miles Davis played a major role in establishing which jazz styles? c) Little Bird. d) all of these FEEDBACK: Page 237 a) Giant Steps. b) Portrait in Jazz. c) E.S.P. d) Kind of Blue. FEEDBACK: Page 237, 241-242 a) swing, bebop, and fusion
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 3/26 Hide ques±on 3 feedback Question 4 (Mandatory) 1 / 1 point (Q004) Modal jazz is characterized by Hide ques±on 4 feedback Question 5 (Mandatory) 1 / 1 point (Q005) At age nineteen, Miles Davis was hired to play with b) cool, hard bop, and fusion c) swing, Third Stream, and the avant-garde d) bebop, hard bop, and the avant-garde FEEDBACK: Page 237 a) improvising with scales over very few chords. b) the technical challenge of improvising in high registers. c) combining chromatic chord changes with melodies in the major mode. d) drawing the melody for improvisation out of the chord changes. FEEDBACK: Page 242
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 4/26 Hide ques±on 5 feedback Question 6 (Mandatory) 1 / 1 point (Q006) This pianist on Miles Davis’s recording of "So What" helped to establish the tune’s modal flavor: Hide ques±on 6 feedback a) Duke Ellington. b) Coleman Hawkins. c) Charlie Parker. d) John Coltrane. FEEDBACK: Page 238 a) Horace Silver. b) Red Garland. c) Herbie Hancock. d) Bill Evans. FEEDBACK: Page 244
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 5/26 Question 7 (Mandatory) 1 / 1 point (Q007) Some critics feel that compared to Dizzy Gillespie, Miles Davis had a shortcoming as a trumpet player in his Hide ques±on 7 feedback Question 8 (Mandatory) 1 / 1 point (Q008) Miles Davis’s 1954 recordings with Horace Silver and Kenny Clarke helped to establish Hide ques±on 8 feedback a) speed and virtuosity. b) personal tone. c) use of the upper range of the trumpet. d) speed, virtuosity, and use of the upper range of the trumpet. FEEDBACK: Page 238 a) cool jazz. b) hard bop. c) the Third Stream. d) the jazz avant-garde.
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 6/26 Question 9 (Mandatory) 1 / 1 point (Q009) Miles Davis was fond of altering his timbre with Hide ques±on 9 feedback Question 10 (Mandatory) 1 / 1 point (Q010) The rhythm section of Miles Davis’s 1950s quintet included FEEDBACK: Page 239 a) a plunger mute. b) a Harmon mute. c) growling in his throat. d) feedback from an amplifier. FEEDBACK: Page 239 a) Freddie Green and Walter Page. b) McCoy Tyner and Elvin Jones. c) Philly Joe Jones and Paul Chambers. d) Herbie Hancock and Ron Carter.
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 7/26 Hide ques±on 10 feedback Question 11 (Mandatory) 1 / 1 point (Q011) Among the orchestral albums Miles Davis created in collaboration with Gil Evans in the late 1950s were Hide ques±on 11 feedback Question 12 (Mandatory) 1 / 1 point (Q012) Miles Davis’s interest in modal jazz was sparked by FEEDBACK: Page 240 a) Kind of Blue and Milestones. b) Porgy and Bess and Sketches of Spain. c) Walkin’ and Steamin’. d) E.S.P. and Sorcerer. FEEDBACK: Page 241 a) improvising for the score of a French film. b) reading George Russell’s theory book. c) trading fours with his saxophonist, John Coltrane.
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 8/26 Hide ques±on 12 feedback Question 13 (Mandatory) 1 / 1 point (Q013) Bill Evans was especially influential in his pioneering of Hide ques±on 13 feedback Question 14 (Mandatory) 1 / 1 point (Q014) What was unusual about Bill Evans’s piano trio? d) his love for African dance. FEEDBACK: Page 240 a) scat-singing vocal techniques. b) quartal harmony. c) unusual combinations of instruments (flute, French horn, tuba). d) multiphonics. FEEDBACK: Page 244 a) Each of the three pianos in the group performed in a different style. b) The bassist was freed from keeping time to play strong melodic ideas.
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 9/26 Hide ques±on 14 feedback Question 15 (Mandatory) 1 / 1 point (Q015) John Coltrane played the _____ saxophone. Hide ques±on 15 feedback Question 16 (Mandatory) 1 / 1 point (Q016) John Coltrane signaled his interest in modal jazz by recording a 15-minute version of the following Broadway tune, reducing its harmony to a few chords over a pedal point: c) Evans replaced the drummer with an electric guitarist. d) The accompanying instruments played simply to accommodate Evans’s stride style. FEEDBACK: Page 243 a) baritone b) alto c) tenor d) C-melody FEEDBACK: Page 246-247 a) "Oklahoma!"
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 10/26 Hide ques±on 16 feedback Question 17 (Mandatory) 1 / 1 point (Q017) "Chasin’ the Trane," John Coltrane’s first foray into the avant-garde, makes relentless use of the following technique: Hide ques±on 17 feedback Question 18 (Mandatory) 1 / 1 point (Q018) John Coltrane’s A Love Supreme is unusual in that it b) "My Favorite Things." c) "Hello, Dolly!" d) "Body and Soul." FEEDBACK: Page 247-248 a) multiphonics. b) half-valving. c) irregular meter. d) the press-roll. FEEDBACK: Page 248-249
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 11/26 Hide ques±on 18 feedback Question 19 (Mandatory) 1 / 1 point (Q019) With his 1965 album Ascension , John Coltrane made clear his adherence to Hide ques±on 19 feedback Question 20 (Mandatory) 1 / 1 point a) is divided into four "movements" with abstract titles (e.g., "Acknowledgement"). b) focuses relentlessly on Coltrane’s approach to harmonic improvisation. c) places Coltrane in the midst of a large jazz orchestra. d) features Coltrane playing Broadway pop songs. FEEDBACK: Page 249 a) free jazz (the jazz avant-garde). b) hard bop. c) jazz-rock fusion. d) cool jazz. FEEDBACK: Page 252
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 12/26 (Q020) The style of music on Miles Davis’s 1960s albums like E.S.P. , which expressed a balance between the conventions of modern jazz and the free-wheeling jazz avant-garde, is known as Hide ques±on 20 feedback Question 21 (Mandatory) 1 / 1 point (Q021) In his second quintet in the 1960s, Miles Davis relied on the composing talents of this tenor saxophonist: Hide ques±on 21 feedback a) postbop. b) hard bop. c) fusion. d) cool jazz. FEEDBACK: Page 253 a) Wayne Shorter. b) John Coltrane. c) Dexter Gordon. d) Gerry Mulligan.
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 13/26 Question 22 (Mandatory) 1 / 1 point (Q022) The theme of John Coltrane’s A Love Supreme was Hide ques±on 22 feedback Question 23 (Mandatory) 1 / 1 point (Q023) In addition to Miles Davis, the album Kind of Blue featured all of the following players, except: FEEDBACK: Page 253 a) Coltrane’s profound religious experience. b) a depiction of an intense romance. c) the birth of Coltrane’s first son, Ravi. d) an opera by George Gershwin. FEEDBACK: Page 249 a) Cannonball Adderley. b) John Coltrane. c) Gil Evans. d) Bill Evans.
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 14/26 Hide ques±on 23 feedback Question 24 (Mandatory) 1 / 1 point (Q024) For his late album, Ascension , John Coltrane Hide ques±on 24 feedback Question 25 (Mandatory) 1 / 1 point (Q025) The best-selling jazz recording of the LP era was: FEEDBACK: Page 241-242, 244 a) returned to a classic hard bop approach. b) used a radical free improvisatory approach, pushing further into the avant-garde. c) employed a modal approach. d) carefully composed the intricate instrumental figures to create a fixed composition. FEEDBACK: Page 252 a) Kind of Blue . b) Porgy and Bess . c) A Love Supreme .
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 15/26 Hide ques±on 25 feedback Question 26 (Mandatory) 1 / 1 point (Q026) In jazz, "chord voicings" refers to Hide ques±on 26 feedback Question 27 (Mandatory) 1 / 1 point (Q027) Miles Davis grew up in a wealthy black family. Hide ques±on 27 feedback d) Ascension . FEEDBACK: Page 242 a) the way a chord is sung, including inflection and intonation. b) a call and response texture in which chords are echoed back to one another. c) the way a chord is altered by the use of mutes. d) the way notes or instruments are combined to construct a harmony, such as stacking a chord with various chord tones on the bottom. FEEDBACK: Page 243 True False FEEDBACK: Page 238
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 16/26 Question 28 (Mandatory) 1 / 1 point (Q028) During the years Miles Davis recorded Kind of Blue , Porgy and Bess , and E.S.P ., he was addicted to heroin. Hide ques±on 28 feedback Question 29 (Mandatory) 1 / 1 point (Q001) Listening Example 1 : "So What" Timing: 1:30-2:07 and 0:00-0:15 The trumpet soloist in "So What" is Timing: 1:30-2:07 True False FEEDBACK: Page 239-240 a) Roy Eldridge. b) Dizzy Gillespie. c) Clifford Brown. d) Miles Davis.
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 17/26 Hide ques±on 29 feedback Question 30 (Mandatory) 1 / 1 point (Q002) In the opening of "So What," Hide ques±on 30 feedback Question 31 (Mandatory) 1 / 1 point (Q003) The first two chords of "So What," built on the interval of the fourth, are known as FEEDBACK: Page 244 a) the pianist plays a pair of chords in a rhythm that evokes the title of the tune. b) the drummer drops bombs. c) the group creates a dense polyphony known as collective improvisation. d) the singer does a scat solo. FEEDBACK: Page 244
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 18/26 Hide ques±on 31 feedback Question 32 (Mandatory) 1 / 1 point (Q004) At the very end of this excerpt of "So What," the harmony moves Timing: 1:30-2:07 a) quartal chords. b) a quarter tone. c) "slash" chords. d) atonal harmony (or "playing outside"). FEEDBACK: Page 244 a) up a half step. b) down an octave. c) to the IV chord. d) to the whole-tone scale.
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 19/26 Hide ques±on 32 feedback Question 33 (Mandatory) 1 / 1 point (Q005) The style of improvisation heard in "So What," is Timing: 1:30-2:07 Hide ques±on 33 feedback Question 34 (Mandatory) 1 / 1 point (Q006) Listening Example 2 : "Acknowledgement" Timing: 3:50-4:20 The style of "Acknowledgement" is FEEDBACK: Page 244 a) melodic paraphrase. b) harmonic improvisation. c) modal improvisation. d) cool jazz. FEEDBACK: Page 244
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 20/26 Hide ques±on 34 feedback Question 35 (Mandatory) 1 / 1 point (Q007) The tenor saxophone soloist on "Acknowledgement" is a) avant-garde. b) bebop. c) cool. d) fusion. FEEDBACK: Page 250 a) Lester Young. b) John Coltrane. c) Coleman Hawkins. d) Sonny Rollins.
2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 21/26 Hide ques±on 35 feedback Question 36 (Mandatory) 1 / 1 point (Q008) On the highest notes in "Acknowledgement," the saxophone soloist Hide ques±on 36 feedback Question 37 (Mandatory) 0 / 1 point (Q009) The pianist performing in "Acknowledgement" FEEDBACK: Page 250 a) distorts his timbre. b) changes the meter of the piece. c) trades fours with the drummer. d) plays double-time. FEEDBACK: Page 250
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 22/26 Hide ques±on 37 feedback Question 38 (Mandatory) 1 / 1 point (Q010) The saxophonist in "Acknowledgement" improvises by manipulating short fragments of melody. Each of these short fragments is known as a(n) a) plays chromatic chords. b) performs in stride style. c) "comps." d) plays chromatic chords and "comps" only. FEEDBACK: Page 250 a) motive. b) dynamic. c) ostinato. d) cadence.
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 23/26 Hide ques±on 38 feedback Question 39 (Mandatory) 1 / 1 point (Q011) Listening Example 3 : "E.S.P." Timing: 1:14-1:44 The style of "E.S.P." is Hide ques±on 39 feedback Question 40 (Mandatory) 1 / 1 point (Q012) The trumpet soloist in "E.S.P." is FEEDBACK: Page 250 a) swing. b) cool jazz. c) jazz-rock fusion. d) postbop. FEEDBACK: Page 254
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 24/26 Hide ques±on 40 feedback Question 41 (Mandatory) 1 / 1 point (Q013) The saxophonist on this recording of "E.S.P.," who is also the tune's composer, came to this group from Art Blakey's Jazz Messengers: a) Clifford Brown. b) Dizzy Gillespie c) Miles Davis. d) Louis Armstrong. FEEDBACK: Page 254 a) John Coltrane. b) Cannonball Adderley. c) Wayne Shorter. d) Lee Konitz.
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 25/26 Hide ques±on 41 feedback Question 42 (Mandatory) 1 / 1 point (Q014) Toward the end of this excerpt from "E.S.P.," the trumpet player Hide ques±on 42 feedback Question 43 (Mandatory) 1 / 1 point (Q015) The harmony of "E.S.P." is FEEDBACK: Page 254 a) shifts unexpectedly to the upper register. b) begins using a plunger mute. c) improvises using rhythm changes. d) drops out. FEEDBACK: Page 254
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2/17/24, 12:41 PM - MUS112-N804: Introduction to Jazz - Central Piedmont https://brightspace.cpcc.edu/d2l/le/content/168117/viewContent/6137931/View 26/26 Hide ques±on 43 feedback Done a) chromatic. b) consonant. c) melismatic. d) duple. FEEDBACK: Page 254
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