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50 Cards in this Set
- Front
- Back
Physical instruments that are inserted into the bell of a horn are called cornets |
Mutes |
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Which of the following instruments is NOT in the percussion family? |
Cornet |
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A drum kit is |
a one-man percussion section within the rhythm section of a band |
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The simultaneous use of mulitple rhythms is known as |
Polyrhythm |
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Pitch is measured by |
Frequency |
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Syncopation is |
The accenting of the off-beats, 2 and 4, in a four-beat measure |
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The use of more htan one melody at the same time is known as |
Polyphony |
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Stop time uses a ________ texture producing a series of short breaks |
Polyphonic |
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Much of jazz includes traits that can be specifically traced back to African traditions, especially that of Ghana, including |
The use of call and response |
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Subtle gradations between proper pitches which create the sound of sliding through fractions of a half-step are called |
Blue notes |
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The use of cycles of improvisation in Jazz to delineate form comes from a longstanding tradition in |
Africa |
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The form of "West End Blues" is that of |
Twelve-bar blues |
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Blues form is derived from |
African American folk poetry |
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The use of chords which vary throughout a piece are known as a |
Chord Progression |
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The use of the letter A in an AABA form represents |
Repetition |
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In a thirty-two bar AABA popular song, the bridge is denoted by |
the letter B |
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Dropping bombs in Jazz refers to |
An accented beat on the bass drum |
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A pedal point is |
A repeated note or chord in the bass-line that does not change |
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When a pianist accompanies another musician by playing the chord progression, it is said that they are |
Comping |
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Which of the following helped white audiences become comfortable with ragtime syncopation? |
The Cakewalk |
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In the folk tradition, ballads were songs that |
Told a story, often of a local history |
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The instrument that was most commonly associated with ragtime was |
The piano |
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The group well-known for the continued performances of spirituals throughout the U.S. was the |
Fisk Jubilee Singers |
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The song known as "The Buzzard Lope" consists of |
All of the Above |
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The theatrical form of blues featuring female singers, accompanied by a small band, on the stages in the 1920's is |
Vaudevile Blues |
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The popular blues artist that was known as the "Empress of the Blues" in the 1920's - 1930's was |
Bessie Smith |
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This early jazz cornetist was acknowledged as the first important musician in jazz. It was claimed that his cornet could be heard as far away as twelve miles. He was |
Buddy Bolden |
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The great migration was |
The movement of former slaves from agricultural areas into larger cities including Chicago and New York |
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The song "Dixie Jazz Band One-Step" was recorded by the Original Dixieland Jazz Band. The song consisted of |
A rehearsed improvisation |
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Which of hte following songs was recorded by Jelly Roll Morton and his Red Hot Peppers? |
Dead Man Blues |
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Which of the following songs includes stop-time and breaks, and Morton emphasizing unexpected syllables? |
Doctor Jazz |
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Joe Oliver hired a young musician to King Oliver's Creole Jazz Band in about 1920 to "punch up the fornt line and spell him off" during a performance. The musician that he hired to join his band was |
Louis Armstrong |
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A great soloist that could play both clarinet and soprano saxophone was |
Sidney Bechet |
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The style of jazz that developed in New York and was internationally recognized |
The stride piano |
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The "father of stride piano" was |
James P. Johnson |
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In 1904, the Harlem Renaissance was organized by the encouragement of |
The Afro-American Realty Company's campaign to lure African Americans to Harlem |
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The composer who changed the false assumptions about jazz as a low and unlettered music and showed that jazz writing could be applied to popular songs was |
Duke Ellington |
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The Cotton Club, a well-known jazz club that exploited stereotypes of minstrels, was segregated and included a backstand design made up of a Southern mansion and slave quarters. It was opened by |
Duke Ellington |
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The song "Hotter Than That" is performed by a trumpet player that would scat-sing. His name was |
Louis Armstrong |
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In "Weather Bird", Louis Armstrong joined this young pianist and created an improvised call and response style. The pianist is |
Earl Hines |
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One major effect that Louis Armstrong had on jazz was |
the importance of the soloist |
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Satchmo refers to |
All of the above |
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Laws that were enlisted to ensure racial segregation in 1876 were called |
Jim Crow Laws |
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Police and law enforcement officials throughout the US in the late 1800's and early 1900's reacted to lynchings of African Americans... |
By ignoring them and doing virutally nothing |
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This piece is titled ________ by ________ |
Dead Man Blues, Jelly Roll Morton |
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Because jazz is an improvisational style, |
No two performances will sound exactly alike |
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In the early 1930's American record companies were going out of business. _____ became a new medium to hear jazz and blues |
Radio |
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Located inthe Frecnh Quarter of New Orleans, LA, this became the Sunday afternoon congregating place for slaves and free blacks in the early 1800's. It was called |
Congo Square |
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The name of this song is _______ with _______ performing |
West End Blues , Louis Armstrong |
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Which of the following instruments was invented inthe 1840's in Paris as a famliy of instruments who derived their individual names from vocal parts? |
Saxophone |