Q&A Hero

Visual Arts

Q: The United States Marine Band was established in 1798 by an act of Congress.
Q: John Philip Sousa wrote the lyrics for When Johnny Comes Marching Home.
Q: Patrick S. Gilmore reorganized the Union Army group after the Civil War into a concert and dance ensemble.
Q: The U.S. Marine Band was the most famous band during the seventeenth-century.
Q: The sharp chord that closes the trio is called: a. the final cadence. c. the finale. b. a stinger. d. a fortissimo.
Q: In standard march structure, the C strain is also called: a. the trio. c. the bridge. b. the fortissimo. d. the chorus.
Q: Standard march structure includes regular sections called: a. strains. c. bridges. b. the trio. d. verses.
Q: What new dance craze did The Washington Post spawn? a. the Post step c. the two-step b. the Sousa stomp d. the Lindy hop
Q: What is the meter for The Washington Post? a. 2/4 c. 6/8 b. 4/4 d. 12/8
Q: Who commissioned The Washington Post march? a. the U.S. Marine Band c. John Philip Sousa b. Patrick S. Gilmore d. a newspaper
Q: Who composed The Washington Post? a. Patrick S. Gilmore c. Scott Joplin b. John Philip Sousa d. Stephen Foster
Q: What music is Sousa credited with bringing to Europe during his first European tour in 1900? a. ragtime c. blues b. march d. classical
Q: Which branch of the U.S. military adopted Semper fidelis as its official march? a. the Navy c. the Marine Corps b. the Army d. the Air Force
Q: Who wrote the march Semper fidelis? a. Patrick S. Gilmore c. Adolphe Sax b. John Philip Sousa d. Scott Joplin
Q: Who gave the United States Marine Band its nickname, The Presidents Own? a. John Adams c. Patrick S. Gilmore b. John Philip Sousa d. Thomas Jefferson
Q: Patrick S. Gilmore wrote the lyrics for ____________, a rousing tune to welcome back soldiers. a. When Johnny Comes Marching Home c. Semper fidelis b. God Bless America d. The Washington Post
Q: Who reorganized the Union Army group into a concert and dance ensemble after the American Civil War? a. John Philip Sousa c. Scott Joplin b. Patrick S. Gilmore d. Stephen Foster
Q: What was the most famous eighteenth-century band? a. U.S. Marine Band c. the Sousa Band b. the Goldman Band d. Jelly Roll Mortons Red Hot Peppers
Q: Americas nineteenth-century vernacular music traditions included: a. parlor ballads. c. music for brass bands. b. spirituals. d. all of the answers shown here
Q: Explain how Harry T. Burleighs piano and voice arrangements of spirituals position black musical traditions alongside European American musical traditions.
Q: How does Swing Low, Sweet Chariot reflect the cultural mix that characterizes vernacular music of the United States?
Q: The Harlem Renaissance attempted to claim a high culture space for African American artists and philosophers.
Q: The Fisk Jubilee Singers toured the northern United States and Europe during the 1870s to raise funds for Fisk University.
Q: Spirituals contained coded messages about earthly escape concealed in texts that promised heavenly deliverance.
Q: The ring shout was developed from a mixture of African and European musical traditions.
Q: European Americans took no part in camp meetings.
Q: The Fisk Jubilee Singers helped make Swing Low, Sweet Chariot a well-known spiritual after the group added the song to its repertory.
Q: The Reverend Alexander Reid wrote Swing Low, Sweet Chariot.
Q: The pentatonic scale is a seven-note scale.
Q: Burleighs arrangements of spirituals for solo voice and piano positioned the black tradition alongside the European American art song tradition as a valid aspect of American art.
Q: In an effort to create an American style, many white composers in the early twentieth century embraced black musical traditions.
Q: The Fisk Jubilee Singers only sang arrangements of spirituals.
Q: After the Civil War, the Fisk Jubilee Singers helped to broaden the cultural appeal of spirituals.
Q: Camp meetings were developed by slaves from African traditions into extended call and response that built to a religious fervor.
Q: Who suggested to the Fisk Jubilee Singers that they add Swing Low to their repertory? a. Wallace Willis c. Harry T. Burleigh b. Reverend Alexander Reid d. Antonn Dvork
Q: The melody for Swing Low, Sweet Chariot uses the ______ scale. a. harmonic minor c. pentatonic b. blues d. chromatic
Q: Who is the former slave that is thought to have created Swing Low, Sweet Chariot? a. Wallace Willis c. Harry T. Burleigh b. Reverend Alexander Reid d. John Brown
Q: What early-twentieth-century cultural movement attempted to counteract the systematic racism and marginalization African Americans suffered in America? a. the Harlem Renaissance c. the Second Great Awakening b. the Jazz Age d. Ragtime
Q: Which African American composer began to create arrangements of spirituals, first published in the 1910s? a. Antonn Dvork c. Scott Joplin b. William Grant Still d. Harry T. Burleigh
Q: Which composer made the statement, In the Negro melodies of America I discover all that is needed for a great and noble school of music. a. John Philip Sousa c. Antonn Dvork b. Stephen Foster d. Harry T. Burleigh
Q: What singing group brought spirituals a broader cultural presence immediately after the Civil War? a. the Fisk Jubilee Singers c. the Harry T. Burleigh Chorus b. the New Christy Minstrels d. the Shaw University Singers
Q: What singing tradition incorporated coded messages about earthly escape concealed in texts that promised heavenly deliverance? a. spirituals c. camp meetings b. ring shout d. monophony
Q: What is the name of the black tradition that utilizes an extended call and response that builds to a religious fervor? a. camp meeting c. spiritual b. ring shout d. all of the answers shown here
Q: What Christian movement was sweeping the United States at the turn of the 1800s? a. the First Great Awakening c. camp meetings b. the Second Great Awakening d. ring shout
Q: Both African Americans (freedmen and slaves) and European Americans gathered in ______ to sing hymns of praise to popular or folk tunes. a. camp meetings c. cotton fields b. concert halls d. New York
Q: What effects did non-Western music have on Impressionist and early-twentieth-century composers? Cite examples.
Q: How did composers like Debussy translate Impressionism and Symbolism into sound?
Q: Claude Monet and Auguste Renoir were both Symbolist poets.
Q: The Symbolist movement in poetry was a parallel development to Impressionism.
Q: As a label, Impressionism was originally a term of derision.
Q: Debussys Prelude to The Afternoon of a Faun was inspired by a poem by Maurice Maeterlinck.
Q: Debussy was important in establishing the French art song.
Q: Debussys music reflects a strong adherence to traditional forms and scales of Western music.
Q: Like Berlioz, Debussy won the coveted Prix de Rome during his compositional studies at the Paris Conservatory.
Q: Debussy was greatly influenced by the non-Western music he heard at the Paris World Exhibition of 1889.
Q: Impressionist composers avoided ninth chords because they were prohibited in the Classical system of harmony.
Q: Impressionist composers felt, even more strongly than their predecessors, the need to resolve all chords back to the tonic.
Q: The Symbolist movement began in England.
Q: Impressionist painters slowly recreated an idealized impression of an object with perfect lighting.
Q: Impressionism takes its name from a painting by Claude Monet.
Q: Impressionist artists abandoned the grandiose subjects of Romanticism.
Q: Where did Debussy first encounter non-Western scales and instruments? a. while studying in Rome c. while living in Tahiti b. at the 1889 Paris Exhibition d. on an 1889 trip to Egypt
Q: What did Debussy help to establish as a French national art form? a. opera c. mlodie b. the symphony d. the piano sonata
Q: The Symbolists sought to evoke poetic images: a. through suggestion rather than description. b. through description rather than suggestion. c. through statement rather than symbol. d. through the use of precise language.
Q: Which of the following does NOT characterize Nijinskys choreography for Debussys Prelude to The Afternoon of a Faun? a. It caused a scandal in Paris. b. It was a turning point in modern dance. c. It continued the traditions of classical ballet. d. It featured one of the great male dancers of the time.
Q: What is a blue chord? a. chord with lowered thirds and sevenths c. chord played by muted horns b. chord built on the note B d. chord built on the whole-tone scale
Q: Which sentence best describes the opening of Debussys Prelude to The Afternoon of a Faun? a. It opens with solo bassoon in the high register. b. It opens with a drumroll and fanfare. c. It opens with a flute solo in the velvety lower register. d. It opens with unison strings.
Q: The overall form of Debussys Prelude to The Afternoon of a Faun is best described as: a. binary. c. sonata-allegro. b. ternary. d. rondo.
Q: The program of Debussys Prelude to The Afternoon of a Faun evokes: a. a nationalistic folk dance. b. a river flowing through France. c. a childs view of heaven. d. a landscape with a mythological creature.
Q: Debussys opera Pellas and Mlisande is based on a Symbolist drama by: a. Giraud. c. Maeterlinck. b. Ibsen. d. Mallarm.
Q: What nationality was Claude Debussy? a. German c. Italian b. French d. Austrian
Q: Impressionism in music is best exemplified by the works of: a. Claude Debussy. c. Hector Berlioz. b. Gustav Mahler. d. Frdric Chopin.
Q: The Impressionist painters interest in color is paralleled by the Impressionist composers interest in: a. rhythm. c. timbre. b. melody. d. texture.
Q: Which of the following is/are characteristic of Impressionist music? a. whole-tone scales b. ambiguous tonality c. ninth chords d. all of the answers shown here
Q: The whole-tone scale used by Impressionist composers derives from: a. the post-Romantic music of Mahler. c. medieval church music. b. non-Western music. d. the Classical-Romantic tradition.
Q: The Symbolist poets were strongly influenced by the works of: a. George Sand. c. Robert Frost. b. Emily Bront. d. Edgar Allan Poe.
Q: Mallarm and Verlaine were: a. Symbolist poets. c. Impressionist composers. b. Impressionist painters. d. none of the answers shown here
Q: The French movement in poetry that revolted against traditional modes of expression is called: a. Imagism. c. Expressionism. b. Symbolism. d. Impressionism.
Q: Which of the following best describes the effect achieved by Impressionist painting? a. bold, brilliant colors c. luminous, shimmering colors b. drab, dark colors d. consistent use of a single color
Q: Which of the following best describes the work of the Impressionist painters? a. They adhered firmly to academic traditions. b. The hero of their painting was man. c. They attempted to capture the freshness of first impressions. d. They preferred to do their painting indoors.
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