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TEST BANK Jazz Essential Listening by John Murphy UNIVERSITY OF NORTH TEXAS B W • W • NORTON & COMPANY • NEW YORK • LONDON for Copyright © 2011 by W. W. Norton & Company, Inc. All rights reserved ISBN: 978- 0- 393- 11963- 3 W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y. 10110 wwnorton .com W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London, W1T 3QT 1 2 3 4 5 6 7 8 9 0 W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton fi rst published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The fi rm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By mid-century, the two major pillars of Norton’s publishing program—trade books and college texts—were fi rmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year— W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. iii Contents Chapter 1 | Musical Elements and Instruments 1 Chapter 2 | Jazz Form and Improvisation 9 Chapter 3 | The Roots of Jazz 17 Chapter 4 | New Orleans 26 Chapter 5 | New York in the 1920s 35 Chapter 6 | Louis Armstrong and the First Great Soloists 45 Chapter 7 | Swing Bands 56 Chapter 8 | Count Basie and Duke Ellington 65 Chapter 9 | A World of Soloists 75 Chapter 10 | Rhythm in Transition 84 Chapter 11 | Bebop 92 Chapter 12 | The 1950s: Cool Jazz and Hard Bop 105 Chapter 13 | Jazz Composition in the 1950s 118 Chapter 14 | Modality: Miles Davis and John Coltrane 130 Chapter 15 | The Avant- Garde 140 Chapter 16 | Fusion I: R&B, Singers, and Latin Jazz 154 Chapter 17 | Fusion II: Jazz, Rock, and Beyond 165 Chapter 18 | Historicism: Jazz on Jazz 178 Chapter 19 | Jazz Today 187 Chapter 1: Musical Elements and Instruments 1 Chapter 1: Musical Elements and Instruments MULTIPLE CHOICE 1. Timbre refers to: a. loudness of sound c. frequency of sound b. quality of sound d. pitch of sound ANS: B PTS: 1 DIF: 1 REF: p. 8 TOP: Musical Orientation 2. A device inserted into the bell of a brass instrument to distort the sounds coming out is called a: a. valve c. mouthpiece b. mute d. key ANS: B PTS: 1 DIF: 1 REF: p. 8 TOP: Musical Orientation 3. The use of unusual sounds for expressive purposes is known as: a. timbre variation c. downbeat b. polyrhythm d. scale ANS: A PTS: 1 DIF: 1 REF: p. 8 TOP: Musical Orientation 4. Which is NOT an option for changing the pitch of a wind instrument? a. changing the length of the tube c. blowing with increased intensity b. playing notes of longer duration d. changing the embouchure ANS: B PTS: 1 DIF: 2 REF: p. 9 TOP: Musical Orientation 5. Which mute enables the trumpet to emulate human speech most effectively? a. cup mute c. plunger mute b. Harmon mute d. straight mute ANS: C PTS: 1 DIF: 1 REF: p. 9 TOP: Musical Orientation 6. The glissando, or smear, is most characteristic of which brass instrument? a. trumpet c. tuba b. cornet d. trombone ANS: D PTS: 1 DIF: 1 REF: p. 9 TOP: Musical Orientatio