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1 | |
The free jazz performer who is able to blend the two musical worlds (jazz and classic) is |
| | A) | John Coltrane |
| | B) | Cecil Taylor |
| | C) | Ornette Coleman |
| | D) | Anthony Braxton |
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2 | |
In the 1960’s, which city reprised its role as the geographical center of a style of jazz? |
| | A) | New York |
| | B) | New Orleans |
| | C) | Chicago |
| | D) | Kansas City |
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3 | |
As in jazz of other eras, which element remains important in free form jazz? |
| | A) | rhythm |
| | B) | harmony |
| | C) | improvisation |
| | D) | melody |
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4 | |
Who were two of the earliest jazz artists to attempt to avoid the constraints of the bar lines and move toward a more free-flowing rhythm? |
| | A) | Charlie Parker and Dizzy Gillespie |
| | B) | Miles Davis and Cannonball Adderley |
| | C) | Stan Kenton and Woody Herman |
| | D) | Lester Young and Gerry Mulligan |
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5 | |
The free jazz musician who believes that “You can play sharp in tune and flat in tune” is |
| | A) | John Coltrane |
| | B) | Gerry Mulligan |
| | C) | Ornette Coleman |
| | D) | Cecil Taylor |
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6 | |
The free jazz artist whose concerts are known for difficult to follow, long, uninterrupted, intense, improvisational composition is |
| | A) | Ornette Coleman |
| | B) | Cecil Taylor |
| | C) | Carla Bley |
| | D) | Sun Ra |
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7 | |
Who is the musician whose control and co-ordination of his outstanding technique was often referred to as “sheets and sound”? |
| | A) | Ornette Coleman |
| | B) | Cannonball Adderley |
| | C) | John Coltrane |
| | D) | Pharaoh Sanders |
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8 | |
Music that is seemingly without meter and lacks a definite beat is called |
| | A) | contrapuntal |
| | B) | arrhythmic |
| | C) | isometric |
| | D) | contradanse |
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9 | |
Among the compositional and performances practices of the Art Ensemble of Chicago are |
| | A) | an emphasis on collective interaction |
| | B) | a suspension of fixed rhythmic support (no drums) |
| | C) | a wide range of tone colors |
| | D) | all of the above |
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10 | |
Music based on random relationships is known as |
| | A) | contrapuntal music |
| | B) | arrhythmic music |
| | C) | chance music |
| | D) | polyphonic music |
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11 | |
Music that seeks to avoid the chord and melodic relationships normally associated with the major-minor system is called |
| | A) | arrhythmic music |
| | B) | atonal music |
| | C) | aeolian music |
| | D) | chance music |
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12 | |
Free form, though slow to become accepted, is now the mainstream style of jazz. |
| | A) | true |
| | B) | false |
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13 | |
The free form artist honored by a Guggenheim Foundation grant was |
| | A) | Cecil Taylor |
| | B) | Sun Ra |
| | C) | Ornette Coleman |
| | D) | Greg Orsby |
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14 | |
Although collective improvisation is one of the hallmarks of free jazz, it is also a landmark of |
| | A) | swing |
| | B) | stride |
| | C) | bebop |
| | D) | dixieland |
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15 | |
Interaction between the performers and between the audience and the performers is an important element in the free “improvisation” of free form, avant-garde jazz. |
| | A) | true |
| | B) | false |
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