Click here for a pdf of exam 2
JAZZ AND POP MUSIC IN AMERICA
COURSE ID: MUL 2380 REFERENCE # 525186
DAYS AND TIME: M W F 11-11:50 LOCATION: 8248 THREE CREDITS
OFFICE LOCATION AND HOURS: WED
12-1
Instructor: Dr. Donald L. Wilner donwilner@hotmail.com
TurnItIn.com Class Name: MUL2380-JAN2010
Class ID: 3077231
Enrollment Password:MUL238011AM
Listening List for First Exam
Exam 2
1. Alligator Hop – King Oliver(pg 34-35)
2. Maple Leaf Rag –Scott Joplin
3. Dippermouth Blues- King Oliver
4. Dixie Jazz Band One-Step - Original Dixie Land Jass Band (page 32)
5. Wolverine Blues – Jelly Roll Morton (Youtube.com)
6. Black Bottom Stomp- Jelly Roll Morton
7. You've Got to Be Modernistic- Jelly Roll Morton (Dick Hyman on Youtube.com)
8. Handful of Keys –Fats Waller (Youtube.com)
9. Carolina Shout- James P. Johnson
10. I Ain't Got Nobody- Fats Waller
11. West End Blues- Louis Armstrong
12. Reckless Blues- Bessie Smith
13. Hotter Than That- Louis Armstrong
14. Cake Walkin' Babies from Home
15. Weather Bird- Louis Armstrong
16. Blue Horizon- Sidney Bechet
17. Potato Head Blues- Louis Armstrong
18.
Struttin' with
Some Barbecue - Louis Armstrong
Exam
3
1. Harlem Airshaft – Duke Ellington
2. I've Got It Bad- Duke Ellington
3. Taxi War Dance- Count Basie & Lester Young
4. Lester Leaps In- Lester Young
5. Sittin' In- Roy Eldridge
6. Body and Soul-Coleman Hawkins
7. Tiger Rag- Art Tatum
8. After You’ve Gone- Roy Eldridge
9. I Found a New Baby- Goodman Trio
10. 'Rockin' Chair- Roy Eldridge
11. I Can't Believe That You're in Love with Me” Roy Eldridge
12.
Willow Weep for Me Art Tatum
Exam 4- Bebop
1. Leap Frog,
2. Powell's “Get Happy
3. “Parker’s Mood,”
If you don’t have any of these CD’s, you can hear these pieces in the Listening Lab (M336).
Exam 1 Questions:
1. The two most
common
elements in jazz are
a. trumpets
and saxophones
b. saxophones
and drums
c.
improvisation and
saxophone
d. swing
feeling and
improvisation
2. Swing feeling
requires
a. good melody
b. good tempo
c. spirit and
steady
tempo
d. steady
tempo and
syncopation
3. Improvisation
involves
a.
interpreting written
themes
b. making it
up as you
go along
c. repeating
swinging
melodic phrases
d. playing by
ear
4. Swinging involves
a. solely
rhythmic
aspects
b. generating
excitement
c. solely
melodic
aspects
d. keeping a
steady
tempo
5. Jazz is
a. only what
you feel to
be swinging
b. anything
ever called
jazz
c. a variety
of
different styles
d. any or all
of the
above.
6. Jazz styles
historically
a. render
each preceding
style obsolete
b. co-exist
c. don't
influence each
other
d. develop
out of reaction
to each other
7. Jazz is
a. only for
dancing
b. only for
serious
listening
c. only for
mood music
d. none of
the above
8. Generally we can
tell when
a musician is improvising when
a. he stands
up to take
a solo
b. the melody
of the
piece ends
c. when the
character of
the melodic line changes abruptly
d. all the
above
9. Which is most
true?
a. jazz is
exclusively
instrumental music
b. jazz is
performed in
concert halls
c. jazz is
cheerful
d. jazz comes
in many
varieties
10. Improvisation is
a. making it
up as you
go along
b. creating
music off
the cuff
c. composing
and
performing at the same time
d. all the
above
11. Swing feeling is
a. a lilting,
buoyant
feeling
b. excitement
c. lifting
off and
casting away the moorings
d. all the
above
12. Jazz swing
feeling is
a. an
objective aspect
of musical performance
b. a
subjective aspect
of listener perception
c. the
rhythmic feeling
evoked by any successful performance
d. whatever
makes you
want to dance
13. Which is most
true?
a. Everybody
agrees about
what jazz is.
b. Jazz is
whatever
music you have first heard called "jazz."
c. Jazz is
whatever
music sounds jazzy.
d. Different
listeners
define jazz in different ways.
14. Which is most
true?
a. Jazz
styles follow a
neat line of succession in which each one renders the previous one
obsolete.
b. Jazz
consists only of
styles of music that originated in the 1920s, 30s and 40s.
c. Jazz
styles borrow
from each other and complement each other.
d. Several
jazz styles
coexist.
15. Which is most
true?
a. Everything
is
spontaneous in jazz.
b. Unwritten
arrangements are used in much jazz.
c. Some music
by jazz
bands derive from written arrangements.
d. b and c
16. Which is most
true for
jazz?
a. Musicians
improvise
only their melodies.
b. During
performances
when the melody of the piece itself ends, what follows is improvised.
c. Jazz
musicians merely
decorate a tune by changing some of its rhythms or adding notes to it.
d. Musicians
stick to
the original melodies most of the time.
17. Jazz musicians
usually play
a piece's original melody at
a. the
beginning and at
the end of their performance
b. only at
the end of
their performance
c.
continuously while
improvising on it
d. before but
not after
their improvisation
18. To improvise is
to play
a. ad lib
b. off the
cuff
c. by jamming
d. all the
above
19. Which is most
true?
a. Jazz is a
passing
fad.
b. Jazz is
only the
style of 1940s swing bands.
c. Jazz is
considered a
fine art
d. Jazz is played only in America
20. Syncopating
indicates
a. loud
playing
b. accenting
just before
or just after a main beat
c. stressing
"one" and "three"
d. playing in
fast tempo
21. A continuous
rising and
falling motion in a melodic line alternately makes you
a. confused
and
perplexed
b. excited
and aroused
c. tense and
relaxed
d. dizzy and
sleepy
22. The easiest way
to listen
to jazz is to
a. learn all
the chord
then follow their progression
b. divide the
sounds
into soloist and accompanist roles and rotate focus between them
c. focus
solely on
improvised solo line as though it is a written or memorized melody
d. learn the
melody of
the piece and keep repeating it in your head while the musicians
improvise on
its
accompaniment
23. In jazz styles
of the
1930s, 40s and 50s bassists primarily
a. pluck a
string once
for each beat
b. sustain
important
notes from the accompaniment chords
c. play
highly
syncopated patterns
d. a and b
24. The ways that
musicians
keep their place while improvising is by
a. watching
others for
cues
b.
remembering how long
they have been soloing and then to stop when their time quota is reached
c. all
following the
same chord progression of the piece at the same tempo and key
d. beat their
feet in
time with the music
25. The function of
the jazz
drummer is to
a. underscore
(reinforce) rhythms in the melody
b. state
timekeeping
rhythms to help maintain the tempo
c. provide
extra
commentary in the form of pops and crashes ("chatter") to make music
more exciting
d. all the
above
26. The primary
functions of
the bassist are to
a. solo and
conduct
b. state the
tempo
c. feed
important notes
from the chords
d. b and c
27. Comping is
a. syncopated
chording
b. another
name for
soloing
c. strumming
chords, one
per beat as a rhythm guitar does
d. written
accompaniment
for a pianist to play
28. Which statement
is most
true?
a. Jazz
improvisations
are always fresh and original.
b. Musicians
depend
primarily on memorized phrases.
c. A few of
the best
improvisers manage to avoid clichés.
d. Jazz
improvisations
usually mix old ideas with new ones.
29. In jazz of the
1940s and
50s, drummers tended to use their right hand to
a. play a
simple
repeating pattern on the ride cymbal for timekeeping
b. tap their
crash
cymbal loudly on each beat
c. play rolls
on the
snare drum
d. strike
their bass
drum with a drum stick
30. In jazz of the
1940s and
50s, drummers tended to use their left hand to
a. strike the
bass drum
on every other beat
b. strike the
high-hat
c. drop bombs
and
crackling sounds on the snare drum
d. keep time
on the ride
cymbal
31. In jazz of the
1940s and
50s, drummers tended to snap closed their high hat
a. sharply on
every beat
b. so it
would ring once
every four beats
c. on every
other beat
d. only for
occasional
emphasis
32. In jazz of the
1940s and
50s, pianists tended to accompany horn solos by
a. playing a
chord on
every beat
b. playing a
bass note
on beats number one and three, and a chord on beats number two and four
c. syncopated
chording
that spontaneously related to the direction of the solo line
d. sustaining
chords for
as man beats as each was in effect within the song form
33. Solo
improvisations lasted
a. as long as
the
soloists wanted to play
b. as long as
any
particular number of chorus lengths
c. until the
bandleader
signaled them to stop
d. until
accompanists
were exhausted
34. Musicians make
jazz by
a. always
being entirely
original
b. repeating
phrases
from famous recordings
c. reading
from a score
and parts ("sheet music")
d. piecing
together
original ideas with fragments of memorized patterns
35. The phrases in
improvised
solos may not be completely original but
a. the way
they are
pieced together is
b. the
rhythmic feeling
differs substantially from the source
c. that lack
of
originality is not considered to be a serious problem
d. a and c
36. The repeating
part of a
tune's construction that provides the basis for improvisations is
called the
a. verse
b. chorus
c. bridge
d. A-section
37. Musicians can
make jazz
with people that they don't know because they all
a. know many
of the same
tunes
b. follow the
same tempo
and key
c. follow
unwritten
rules about collective improvisation
d. all the
above
38. Among the very
few
musicians who manage to improvise without relying on familiar patterns
are
a. Ramsey
Lewis and
Jimmy Smith
b. Kenny G
and Dave
Sanborn
c. Wayne
Shorter and Jim
Hall
d. Charlie
Parker and
Oscar Peterson
39. Many listeners
cope with
the complexities of jazz improvisation by
a. seeking
nuggets of
melody within the improvised lines
b. humming
the original
tune to keep their place in the chord progression that guides the
improvisations
c. imagining
graphs in
which pitch is represented as up and down, and duration is presented as
long
and
short
d. all the
above
40. Some jazz
listeners divide
the sounds of a performance into the roles played by the different
instruments,
such as
a. soloist
and
accompanist
b.
percussionist and
conductor
c. melody and
loudness
d. rhythm and
tone color
41. Various ways of
paying
attention to jazz performance include
a. catching
the groove
b. enjoying
the overall
wash of sound
c. listening
note-for-note to the melodic lines
d. any or all
of the
above
42. In modern jazz
of the
1940s, 50s, and 60s two main functions of the bassist were to provide
both
a. percussion
and tone
quality
b. harmony
notes and
timekeeping
c. melody and
harmony
d. solo and
accompaniment
43. In general, what
instruments were played by the musicians who were considered to belong
to the
"rhythm section"?
a. saxophone,
trumpet
and piano
b. piano,
bass and drums
c. guitar,
trombone and
saxophone
d. drums and
saxophone
44. Soloists in most
jazz
performances usually stop their improvisations at
a. the end of
the bridge
b. the
beginning of the
second A-section
c. the end of
a chorus
d. whatever
time when
they find that they have no more ideas
45. In jazz
improvisation it is
not generally considered plagiarism to incorporate
a. phrases
from other
musicians' works
b. quotes
from pop tunes
c. excerpts
of classical
pieces and opera
d. all of the
above
46. We can identify
an
improviser partly by
a. the pet
phrases he is
known for
b. his
peculiar tone
quality
c. his
rhythmic
tendencies
d. all the
above
47. Traditionally,
most jazz
musicians try to never play
a. the same
way twice on
a given tune's accompaniment chords
b. in a
manner that
makes them sound just like someone else
c. in a way
that
listeners can follow
d. in a way
that keeps
the original tune in mind
48. Which is most
true?
a. Jazz
innovators
created their styles entirely by themselves.
b. Most new
styles were
influenced by previous styles.
c. New styles
of jazz
emerge when musicians become angry and fight old styles.
d. Boredom
with old
styles is not a cause for instigating new styles.
49. Jazz is only
what people
think it is and not
a.
necessarily a music
with strict requirements
b. always
swinging
c. entirely
improvised
d. all the above