CH 11 READING AND LISTENING QUIZ - MUS112-N804_ Introduction to Jazz
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CH 11 READING AND LISTENING QUIZ
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Question 1 (Mandatory)
1 / 1 point
(Q001) Among Miles Davis’s nicknames was
a) the Sorcerer.
b) Mephistopheles.
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Question 2 (Mandatory)
1 / 1 point
(Q002) Miles Davis’s most famous album was the culmination of his experiments with modal
jazz:
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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
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Question 4 (Mandatory)
1 / 1 point
(Q004) Modal jazz is characterized by
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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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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:
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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
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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
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Question 8 (Mandatory)
1 / 1 point
(Q008) Miles Davis’s 1954 recordings with Horace Silver and Kenny Clarke helped to
establish
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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.
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Question 9 (Mandatory)
1 / 1 point
(Q009) Miles Davis was fond of altering his timbre with
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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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Question 11 (Mandatory)
1 / 1 point
(Q011) Among the orchestral albums Miles Davis created in collaboration with Gil Evans in
the late 1950s were
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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.
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Question 13 (Mandatory)
1 / 1 point
(Q013) Bill Evans was especially influential in his pioneering of
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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.
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Question 15 (Mandatory)
1 / 1 point
(Q015) John Coltrane played the _____ saxophone.
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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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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:
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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
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Question 19 (Mandatory)
1 / 1 point
(Q019) With his 1965 album Ascension
, John Coltrane made clear his adherence to
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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
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(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
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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:
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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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Question 22 (Mandatory)
1 / 1 point
(Q022) The theme of John Coltrane’s A Love Supreme
was
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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.
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Question 24 (Mandatory)
1 / 1 point
(Q024) For his late album, Ascension
, John Coltrane
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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
.
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Question 26 (Mandatory)
1 / 1 point
(Q026) In jazz, "chord voicings" refers to
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Question 27 (Mandatory)
1 / 1 point
(Q027) Miles Davis grew up in a wealthy black family.
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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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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.
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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.
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Question 30 (Mandatory)
1 / 1 point
(Q002) In the opening of "So What,"
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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
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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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Question 33 (Mandatory)
1 / 1 point
(Q005) The style of improvisation heard in "So What," is
Timing: 1:30-2:07
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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.
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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.
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Question 36 (Mandatory)
1 / 1 point
(Q008) On the highest notes in "Acknowledgement," the saxophone soloist
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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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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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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
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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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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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Question 42 (Mandatory)
1 / 1 point
(Q014) Toward the end of this excerpt from "E.S.P.," the trumpet player
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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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Done
a) chromatic.
b) consonant.
c) melismatic.
d) duple.
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Párrafo
17
Estilos
(3) Which set of quantum numbers cannot specify an orbital and state why not.
a. n=2, l=1, m=-1
b. n=3, l=2, mı=0
C. n=3, l= 3, mj =2
d. n=4, l=3, mj=0
(4) Write the abbreviated electron configuration for each element and write the orbital
diagram
а. С
b. P
c. I
d. Na
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Wavelength (2)
in m
10-11
Gamma
rays
1020
10-9
400 nm
X rays
1018 1016
Ultra
violet
10-7
-
Which is the correct sequence for these types of radiation in order of decreasing
wavelength.
10-5
10-3
10-1
101
103
Infrared
Radio frequency
108 106 104
Frequency (v)
in s-1
750 nm
1014
+
Microwaves
1010
1012
Visible Light
A) Ultraviolet radiation, microwave radiation, x-
rays, gamma rays
B) X-rays, ultraviolet radiation, microwave
radiation, gamma rays
C) Microwave radiation, ultraviolet radiation, x-
rays, gamma rays
D) Microwave radiation, ultraviolet radiation,
gamma rays, x-rays
E) Gamma rays, x-rays, ultraviolet radiation,
microwave radiation
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What is the energy (in J) of a photon with a frequency of 7.03 x 1014
s¹? (h= 6.626 × 10-34 Js)
Question 3 of 58
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Question 8 of 15
If n = 5, what is the maximum allowed value for {?
%3D
1
4.
6.
8
9.
+/-
x 100
L LG
2.
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I just need help with parts 4 and 5, I'm not sure how to set up the problems.
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How do you convert 435.835 λ(nm) to v (s-1)
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140.1
140.9
144.2
(145) 150.4 152.0
157.3
158.9
162.5
164.9
167.3
168.9
173.0
17
Actinide
90
91
92
93
94
95
96
97
98
99
100
101
102
10
Series
Th
Pa
U
Np
Pu
Am
Cm
Bk
Cf
Es
Fm
Md
No
232.0 231.0
238.0
(237)
(244)
(243)
(247)
(247)
(251)
(252)
(257)
(258)
(259)
(26
Question 4
The Bohr model of the atom assumes that which of the following quantities for the electron in a
hydrogen atom is/are quantized?
i. Speed
ii. Direction of spin axis
ii. Energy
iv. Radius of its orbit
iii and iv
O i and iii
O i only
O i, ii, and i
O i, ii, and iv
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Lyman series:nf=1 (91<λ<123 nm; near-UV).
Balmer series:nf=2 (365<λ<658 nm; visible).
Paschen series:nf=3 (819<λ<1877 nm; near-IR).
Brackett series:nf=4 (1.456<λ<4.054 μm; short-to-mid-λ-IR)
One of the lines in the emission spectrum of the hydrogen atom has a wavelength of λ = 410.4 nm. Identify the value of nfinal . Identify the value of ninitial.
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What is the minimum uncertainty in the position of a bullet of mass 5.0 g that is known to have a speed somewhere between 350.000001 m s-1 and 350.000000 m s-1?
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Help
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Answers
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Calculate the frequency of a 495-570 nm of wavelength 514.5 nm
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What is the wavelength of radiation that has a frequency of 2.10 x 1014 s-1?
(Answer in meters, to 3 sig figs. Recall that numbers in scientific notation are entered as 1.234e-5)
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Look at the choices below. In each choice, you first see a wavelength followed by a frequency in s-1. Which one of the choices below is not a legitimate choice for a photon traveling through the air in a CHEM 121 laboratory?
Group of answer choices
360 nm; 8.33x1014 s-1
5.17x10-7 m; 5.80x1014 s-1
4.65x10-7 m; 6.45x1014 s-1
399 nm; 7.12x1014 s-1
550 nm; 5.45x1014 s-1
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Av
A chemical reaction takes place inside a flask submerged in a water bath. The water bath contains 2.80 kg of water at 23.5 °C. During the reaction 73.3 kJ of
heat flows out of the bath and into the flask.
Round your
Calculate the new temperature of the water bath. You can assume the specific heat capacity of water under these conditions is 4.18 J'g 'K
answer to 3 significant digits.
Explanation
Check
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