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| 1 | |
Music in African culture was |
| | A) | used only in religious ceremonies |
| | B) | an integral part of everyday life |
| | C) | used to enhance only very special occasions |
| | D) | an entertainment |
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| 2 | |
The site in New Orleans where slaves were allowed to gather on Sunday to sing and dance was |
| | A) | Jackson Square |
| | B) | Congo Square |
| | C) | Times Square |
| | D) | Orleans Square |
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| 3 | |
The music of West Africa can best be described as |
| | A) | art music in the European tradition |
| | B) | a frivolous entertainment |
| | C) | a functional tool used in work, religion and life |
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| 4 | |
All jazz rhythms came from Africa. |
| | A) | True |
| | B) | False |
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| 5 | |
While Mahalia Jackson only sang gospel, one of the earliest influences on her style was which of the following blues singers? |
| | A) | Louis Armstrong |
| | B) | Bessie Smith |
| | C) | Billie Holiday |
| | D) | Ethel Waters |
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| 6 | |
The most important instrument in African music was |
| | A) | the banjo |
| | B) | the drum |
| | C) | the pan flute |
| | D) | the guitar |
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| 7 | |
Field cries and hollers often relied on bending tones slowly upward or downward to either a specific or non-specific pitch. |
| | A) | True |
| | B) | False |
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| 8 | |
Spanish fandangos, tangos, habaneras, etc., were derived from African antecedents. |
| | A) | True |
| | B) | False |
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| 9 | |
The call and response pattern, which was so important in African religious music, can be heard in jazz musicians "trading fours". |
| | A) | True |
| | B) | False |
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| 10 | |
At the turn of the twentieth century, traveling minstrel shows, often featuring such blues singers as Bessie Smith and Ma Rainy, were the main form of entertainment for both races. |
| | A) | True |
| | B) | False |
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