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| 1 | |
Who was the first black woman to release a blues record for a major company, a recording of Perry Bradford's "Crazy Blues" in 1920? |
| | A) | Gertrude "Ma" Rainey |
| | B) | Mamie Smith |
| | C) | Bessie Smith |
| | D) | Alberta Hunter |
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| 2 | |
What was the market for "classic blues," a female style of sassy, urban-sounding blues songs, called? |
| | A) | the "chitlin' circuit" |
| | B) | the "colored" market |
| | C) | the "race records" market |
| | D) | the "New Negro" market |
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| 3 | |
What black man made the first solo recording by a male blues singer in 1926? |
| | A) | Son House |
| | B) | Charley Patton |
| | C) | Robert Johnson |
| | D) | Blind Lemon Jefferson |
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| 4 | |
What record company was founded in 1920 by black publisher, businessman, and NAACP member Harry Pace for the purpose of producing a broad range of black musical forms? |
| | A) | Black Swan Records |
| | B) | Columbia Records |
| | C) | Decca Records |
| | D) | Okeh Records |
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| 5 | |
How did radio affect black musical artists? |
| | A) | They suddenly could reach huge audiences, both black and white, at a time when African American music was becoming very popular. |
| | B) | They were ridiculed for their live performances, which were deemed much more "rough" than their recordings. |
| | C) | At first radio had little effect because radio stations would not play "race music." |
| | D) | It depended upon the artist. Generally, black female musicians were well received by black and white audiences, but black male musicians were not. |
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| 6 | |
What black orchestra broadcast live between 1924 and 1928 from the whites-only Roseland Ballroom in New York? |
| | A) | Fletcher Henderson's Orchestra |
| | B) | Chick Webb's Orchestra |
| | C) | Duke Ellington's Orchestra |
| | D) | Jimmy Wade's Moulin Rouge Orchestra |
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| 7 | |
Who was the 1920s' most frequently broadcast black musician? |
| | A) | Eubie Blake |
| | B) | Billie Holiday |
| | C) | Duke Ellington |
| | D) | Chick Webb |
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| 8 | |
Who is recognized as the fist jazz composer? |
| | A) | Duke Ellington |
| | B) | Louis Armstrong |
| | C) | Jelly Roll Morton |
| | D) | Fletcher Henderson |
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| 9 | |
What city is identified as the birthplace of jazz? |
| | A) | New York |
| | B) | Chicago |
| | C) | New Orleans |
| | D) | Atlanta |
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| 10 | |
James Reese Europe, who served with the illustrious 369th in World War I, was influential in what city's jazz tradition? |
| | A) | Chicago |
| | B) | New Orleans |
| | C) | New York |
| | D) | Atlanta |
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| 11 | |
What two musicians established the template for virtually all post-1920s combo jazz? |
| | A) | Louis Armstrong and Sidney Bechet |
| | B) | Duke Ellington and Fletcher Henderson |
| | C) | Cab Calloway and Count Basie |
| | D) | Teddy Williams and Jelly Roll Morton |
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| 12 | |
By the late 1920s, the center of the jazz world was |
| | A) | New Orleans. |
| | B) | Chicago. |
| | C) | Washington, D.C. |
| | D) | New York. |
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| 13 | |
Who was the most important and prolific producer of black films in the 1920s? |
| | A) | Oscar Micheaux |
| | B) | George Johnson |
| | C) | Dudley Murphy |
| | D) | Gordon Parks |
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| 14 | |
Which of the following was NOT among the challenges faced by early black filmmakers? |
| | A) | They had limited access to capital. |
| | B) | They could not compete with white filmmakers' advertising budgets. |
| | C) | They were too "insignificant" in an era of social statements and did not find audiences. |
| | D) | They did not have access to the same powerful distribution systems as white filmmakers. |
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| 15 | |
What film was perceived by its producer as an answer to the racism of Birth of a Nation? |
| | A) | Within Our Gates |
| | B) | Hallelujah! |
| | C) | Black and Tan |
| | D) | Birthright |
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| 16 | |
What film, conceived and directed by white filmmaker King Vidor, produced such a backlash that he had to hire bodyguards to protect the film's leading actors, Daniel Haynes and Nina Mae McKinney? |
| | A) | Within Our Gates |
| | B) | Hallelujah! |
| | C) | Black and Tan |
| | D) | Birthright |
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| 17 | |
What black actor played the lead in All God's Chillun Got Wings in 1924, the first time in American history that a black man played a principal role opposite a white woman? |
| | A) | Charles Gilpin |
| | B) | Jules Bledsoe |
| | C) | Paul Robeson |
| | D) | Frank Wilson |
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| 18 | |
What was the longest-running black musical on Broadway in the 1920s? |
| | A) | Shuffle Along |
| | B) | Runnin' Wild |
| | C) | Chocolate Dandies |
| | D) | Dover Street to Dixie |
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| 19 | |
When did Harlem become the "Race Capitol of the World," as it was referred to by one black periodical? |
| | A) | before World War I |
| | B) | as a result of the Great Migration into the postwar years |
| | C) | after the great crash of 1929 |
| | D) | following the Civil War |
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| 20 | |
What literary editor of The Crisis and novelist brought the works of Langston Hughes and Nella Larsen into print for the first time? |
| | A) | Charles S. Johnson |
| | B) | W. E. B. Du Bois |
| | C) | Jessie Redmon Fauset |
| | D) | Jean Toomer |
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| 21 | |
What Harlem Renaissance writer immigrated to the U.S. from Jamaica, attended Tuskegee Institute and Kansas State University, was a poet and a novelist, and boldly expressed his contempt for American racism? |
| | A) | Jean Tooomer |
| | B) | Alain Locke |
| | C) | Claude McKay |
| | D) | Paul Laurence Dunbar |
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| 22 | |
What is today recognized as the first African American modernist writing? |
| | A) | McKay's A Long Way from Home |
| | B) | Toomer's Cane |
| | C) | Cullen's Copper Sun |
| | D) | Fauset's The Chinaberry Tree |
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| 23 | |
Who famously said, "If I am going to be a poet at all, I am going to be a POET and not NEGRO POET"? |
| | A) | Langston Hughes |
| | B) | Claude McKay |
| | C) | Countee Cullen |
| | D) | Jean Toomer |
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| 24 | |
Who is known as the poet laureate of the Harlem Renaissance? |
| | A) | Langston Hughes |
| | B) | Claude McKay |
| | C) | Countee Cullen |
| | D) | Jean Toomer |
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| 25 | |
What female author of the Harlem Renaissance had trained under Alain Locke at Howard and anthropologist Franz Boas at Barnard? |
| | A) | Nella Larsen |
| | B) | Jessie Redmond Fauset |
| | C) | Zora Neale Hurston |
| | D) | Augusta Savage |
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| 26 | |
What artist's photographic works significantly shaped the way the Harlem Renaissance is remembered? |
| | A) | James Van Der Zee |
| | B) | Aaron Douglass |
| | C) | Palmer Hayden |
| | D) | Archibald Motley |
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| 27 | |
What Harlem Renaissance painter produced the Bronzeville series of paintings? |
| | A) | Palmer Hayden |
| | B) | Archibald J. Motley, Jr. |
| | C) | Sargent Johnson |
| | D) | Jacob Lawrence |
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| 28 | |
Which of the major intellectuals of the Harlem Renaissance was the most dogmatic advocate of the propagandistic role of art? |
| | A) | W. E. B. Du Bois |
| | B) | Alain Locke |
| | C) | Langston Hughes |
| | D) | Claude McKay |
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| 29 | |
What Harlem Renaissance figure advocated a "melting pot" solution to the problem of race, stating, "There is only one pure race—and this is the human race"? |
| | A) | Jean Toomer |
| | B) | James Weldon Johnson |
| | C) | Countee Cullen |
| | D) | Langston Hughes |
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| 30 | |
Who among the Harlem Renaissance's artists was also the executive director of the NAACP? |
| | A) | Langston Hughes |
| | B) | W. E. B. Du Bois |
| | C) | James Weldon Johnson |
| | D) | Jean Toomer |
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