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Quiz 60

Navigation   » List of Schools  »  Glendale Community College  »  Music  »  Music 120 – Music Appreciation  »  Fall 2019  »  Quiz 60

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Below are the questions for the exam with the choices of answers:

Question #1
Which describes the performing forces in Revueltas’s La noche de los Mayas?
A  string orchestra with bowed and plucked instruments: violins, guitars, vihuelas
B  string orchestra and piano
C  orchestra, piano, extended Latin percussion section
D  violins, trumpets, rhythm section
Question #2
Which describes the music of Silvestre Revueltas?
A  nationalist
B  both modernist and nationalist
C  neither modernist nor nationalist
D  modernist
Question #3
What musical characteristic does Revueltas use in his La noche de los Mayas that resemble the son?
A  shifting meters
B  ostinatos
C  heterophonic textures
D  modal harmonies
Question #4
The post-revolutionary period in Mexico is sometimes called the
A  “Aztec Renaissance.”
B  “Mayan Renaissance.”
C  “New Mexico.”
D  “Mexico City Revival.”
Question #5
The modern music traditions of Mexico
A  embrace Amerindian cultures.
B  embrace Hispanic cultures.
C  All possible answers.
D  are rich and varied.
Question #6
Strong feelings of patriotism arose in Mexico after the Revolution in 1910.
A  FALSE
B  TRUE
Question #7
In his early years, Silvestre Revueltas
A  was mentored by Aaron Copland.
B  was a child prodigy on the violin.
C  studied at the Paris Conservatory with Nadia Boulanger.
D  toured Europe extensively as a concert pianist.
Question #8
Revueltas was not politically active.
A  TRUE
B  FALSE
Question #9
Revueltas studied for a time in
A  Berlin.
B  Paris.
C  the United States.
D  Vienna.
Question #10
Mexican composers of the post-revolutionary period
A  tried to evoke, or suggest, the character of the native music.
B  precisely notated and incorporated the folk melodies of the Amerindian people.
C  wrote music only using traditional instruments of their ancestors.
D  All possible answers.
Question #11
Mexican composers have realized their nationalist approach largely through reference to
A  imported and adopted European music traditions.
B  musics from their northern neighbor.
C  vernacular traditions.
D  All possible answers.
Question #12
Despite their shared border, the culture and history of the U.S. and Mexico have not been intertwined.
A  TRUE
B  FALSE
Question #13
La noche de los Mayas contains an extended ________ section.
A  brass
B  woodwind
C  string
D  percussion
Question #14
La noche de los Mayas celebrates
A  African American heritage.
B  the heritage of the Mayan empire.
C  the timeless traditions of Mexican weddings
D  the Day of the Dead.
Question #15
In what ways is the music of La noche de los Mayas modernist?
A  use of trumpets and violins evokes mariachi music
B  music evokes a modern primitivism
C  connected to European traditions
D  draws on elements of traditional culture
Question #16
In La noche de los Mayas, how does the orchestra emulate the sound of a Mexican mariachi group?
A  guitar and vihuela in musical conversation with the trumpets
B  All possible answers.
C  use of guitarrón and vihuelas
D  violins in thirds answered by brass
Question #17
In La noche de los Mayas, Revueltas incorporated
A  All possible answers.
B  a short dance sequence of the son.
C  Latin American instruments.
D  instruments from the European orchestral tradition.
Question #18
In 1961, José Ives Limantour
A  discovered the score to La noche de los Mayas in Revueltas’s attic.
B  wrote an influential article praising the works of Revueltas, Chávez, and other Mexican nationalists.
C  denounced La noche de los Mayas as primitive and abominable.
D  arranged La noche de los Mayas into a four-movement suite.
Question #19
For what occasion or purpose did Revueltas compose La noche de los Mayas?
A  1939 film score
B  presidential inauguration
C  incidental music for a play by the same name
D  anniversary celebration of the Mexican Revolution
Question #20
“Mestizo realism” was a nationalist modernist movement that drew on elements of Mexico’s traditional cultures.
A  TRUE
B  FALSE
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