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1 |  |  The song "Oye Como Va" has its roots in |
|  | A) | Cuba |
|  | B) | Puerto Rico |
|  | C) | The United States |
|  | D) | all of the above |
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2 |  |  Which of the following is NOT associated with carnival traditions in Latin America. |
|  | A) | samba |
|  | B) | steel band |
|  | C) | tropicalia |
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3 |  |  The jazz-influenced guitar style of transforming Brazilian samba rhythms is called |
|  | A) | berimbau |
|  | B) | batida |
|  | C) | bandoneon |
|  | D) | favelas |
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4 |  |  Brazilian Tropicalia musicians of the late 1960s |
|  | A) | embraced foreign popular musical influences. |
|  | B) | rejected foreign popular musical influences. |
|  | C) | supported the US-backed government. |
|  | D) | B and C only |
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5 |  |  Astor Piazzolla became famous for |
|  | A) | popularizing the tango in the 1920s-1930s. |
|  | B) | dancing the tango in a Hollywood movie. |
|  | C) | developing a new style of tango music. |
|  | D) | All of the above |
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6 |  |  Performing julajula panpipe music |
|  | A) | features individual musicians playing only half the pitches used. |
|  | B) | features individual musicians playing solos. |
|  | C) | reflects ideals of social interdependence. |
|  | D) | A and C only |
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7 |  |  The popular style of Andean folkloric music |
|  | A) | developed in Bueno Aires and Paris. |
|  | B) | uses instruments according to the seasonal rainfall. |
|  | C) | reflects ideals of social interdependence. |
|  | D) | all of the above |
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8 |  |  Mariachi music |
|  | A) | has become a symbol of Mexican identity |
|  | B) | readily appropriates a wide variety of musical forms |
|  | C) | has been used to perpetuate negative stereotypes |
|  | D) | all of the above |
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9 |  |  Because of differing patterns in the institution of slavery |
|  | A) | American blues sounds more "African" than Cuban music |
|  | B) | Cuban music sounds more "African" than American blues |
|  | C) | Latin dance in Cuba looks different than Latin dance in North America |
|  | D) | A and C only |
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10 |  |  The secular, social dance music that was highly influential of Latin dance music was |
|  | A) | Santeria |
|  | B) | bata |
|  | C) | rumba |
|  | D) | conga |
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11 |  |  ___________ are the descendants of the original rumba drums. |
|  | A) | bata |
|  | B) | congas |
|  | C) | timbales |
|  | D) | bongos |
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12 |  |  __________ is the rhythmic basis of virtually all forms of Latin American dance music. |
|  | A) | clave |
|  | B) | conga |
|  | C) | charanga |
|  | D) | salsa |
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13 |  |  In 18th century Cuba creolized dance-music styles emerged because |
|  | A) | white Cubans rejected waltzes and mazurkas |
|  | B) | black Cubans rejected rumba and danzon |
|  | C) | differing patterns in the institution of slavery |
|  | D) | B and C only |
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14 |  |  The danzon, Cuba's "national dance" of the 1920s, was accompanied by an ensemble called |
|  | A) | bata |
|  | B) | timbalero |
|  | C) | charanga |
|  | D) | son |
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15 |  |  Because of the influence of the son, charanga danzon groups |
|  | A) | faded from popularity |
|  | B) | began to play waltzes and mazurkas |
|  | C) | began to play a more Afro-Cuban style of music |
|  | D) | all of the above |
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16 |  |  Enrique Jorrin created the cha cha cha so that |
|  | A) | Cubans could dance to something more Afro-Cuban |
|  | B) | Non-Cubans could easily dance to something more simple |
|  | C) | Puerto Ricans could express a sense of ethnic identity |
|  | D) | all of the above |
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17 |  |  The cha cha cha of Enrique Jorrin featured |
|  | A) | a steady, four-beat meter at a medium tempo |
|  | B) | a steady, four-beat meter at a fast tempo |
|  | C) | an irregular meter at a slow tempo |
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18 |  |  During the 1950s, after the international dance craze for cha cha cha had passed, |
|  | A) | the dance was abandoned |
|  | B) | New York bandleaders adopted it |
|  | C) | a new style was created that was influenced by big band |
|  | D) | B and C only |
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19 |  |  Which of the following is NOT a feature of 1950s mambo? |
|  | A) | layered ostinatos |
|  | B) | big band instrumentation |
|  | C) | rock influences |
|  | D) | fast tempos |
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20 |  |  During the 1950s, dances at the Palladium Ballroom |
|  | A) | were racially segregated |
|  | B) | were racially integrated |
|  | C) | featured "battles of the bands" |
|  | D) | B and C only |
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21 |  |  1950s bandleaders such as Tito Puente, fused the cha cha cha with the |
|  | A) | son |
|  | B) | mambo |
|  | C) | rumba |
|  | D) | clave |
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22 |  |  Compared to the Enrique Jorrin's style, the cha cha cha of Tito Puente |
|  | A) | is slightly faster |
|  | B) | is more syncopated |
|  | C) | is quieter |
|  | D) | A and B only |
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23 |  |  The first song by Carlos Santana to fuse rock and Latin music was |
|  | A) | "Oye Como Va" |
|  | B) | "Evil Ways" |
|  | C) | "Black Magic Woman" |
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24 |  |  Carlos Santana was born in |
|  | A) | Cuba |
|  | B) | Puerto Rico |
|  | C) | The United States |
|  | D) | Mexico |
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25 |  |  According to Carlos Santana, he decided to play "Oye Como Va" because |
|  | A) | it would inspire people to dance |
|  | B) | it would fight against the influence of rock and roll |
|  | C) | it would become a symbol of pan-Latino identity |
|  | D) | all of the above |
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26 |  |  After Santana's "Oye Como Va" |
|  | A) | the music of Tito Puente was forgotten |
|  | B) | Tito Puente earned very little money from royalties on the song |
|  | C) | Tito Puente began to get more widespread recognition |
|  | D) | A and B only |
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27 |  |  Tito Puente Jr.'s version of "Oye Como Va" (the example on our CD) |
|  | A) | rejected the rock of Santana and returned to his father's original sound |
|  | B) | included features of both his father's and Santana's version |
|  | C) | completely altered the original structure of the song |
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