Mus11 Chapter 11 Test Questions with Verified Solutions Already Passed

Mus11 Chapter 11 Test Questions with Verified Solutions Already Passed The song "Oye Como Va" - Answers is rooted in Cuban musical traditions; was composed by a musician who identified himself ethnically and culturally as being principally Puerto Rican; was composed in the United States Which of the following is NOT associated with carnival traditions of Brazil or Trinidad? - Answers tropicália The bossa nova style of guitar playing in which samba-derived percussion rhythms are applied to the guitar is called - Answers batida Brazilian tropicália musicians of the late 1960s - Answers embraced and "cannibalized" foreign popular musical influences Astor Piazzolla became famous for - Answers developing a new style of tango music and being a master of the bandoneón Julajula panpipe music - Answers features interlocking textures; reflects ideals of social interdependence Andean folkloric music is a modernist-cosmpolitan tradition - Answers that developed largely in cities like Buenos Aires and Paris Mariachi music - Answers has become a symbol of Mexican identity; incorporates elements from many different musical styles and traditions; has been used to perpetuate negative stereotypes Because of differing patterns in the institution of slavery - Answers Afro-Cuban music sounds more "African" than African American blues A secular, traditional Cuban dance music that features singing, conga drums, other Latin percussion instruments, and an often "flirtatious" style of dancing is - Answers rumba The batá drums are principally associated with religious rituals and musical traditions of the ____________ religion. - Answers Santería __________ is the rhythmic basis of virtually all forms of Cuban-derived Latin dance music. - Answers Clave In 18th century Cuba, creolized dance-music styles emerged partly because - Answers white Cubans saw them as viable alternatives to outmoded European dances of the time like the waltz and the mazurka The danzón, Cuba's "national dance" of the 1920s, was accompanied by an ensemble called - Answers charanga Because of the influence of Cuban son music, charanga groups that specialized in playing the danzón - Answers were inspired to incorporate more Afro-Cuban elements into their danzón arrangements Enrique Jorrin created the cha cha chá with the intention of - Answers devising a Cuban dance-music style that would appeal to non-Cuban dancers The cha cha chá style of Enrique Jorrin - Answers was relatively simple rhythmically and featured moderate tempos During the 1950s, after the international dance craze for cha cha chá had passed, - Answers New York Latin bandleaders adopted and adapted it, blending it with elements of big band mambo Which of the following was NOT a feature of 1950s mambo? - Answers rock influences During the 1950s, dancing at the Palladium Ballroom - Answers was racially integrated; was often accompanied by bands led by the so-called "mambo kings": Tito Puente, Machito, and Tito Rodríguez In arrangements like Tito Puente's "Oye Como Va," 1950s Latin bandleaders fused the cha cha chá with the - Answers mambo Compared to more traditional Cuban cha cha chá numbers like Enrique Jorrin's "El Bodeguero," cha cha chá numbers like Tito Puente's "Oye Como Va" tended to be - Answers slightly faster in tempo