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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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