Quiz Questions Answer Key

Chapter Eleven

1. The song “Oye Como Va”
d. all of the above

2. Which of the following is NOT associated with carnival traditions of Brazil or Trinidad?
c. tropicália

3. The bossa nova style of guitar playing in which samba-derived percussion rhythms are applied to the guitar is called
b. batida

4. Brazilian tropicália musicians of the late 1960s
a. embraced and “cannibalized” foreign popular musical influences

5. Astor Piazzolla became famous for
c. developing a new style of tango music and being a master of the bandoneón

6. Julajula panpipe music
d. A and C, but not B

7. Andean folkloric music is a modernist-cosmpolitan tradition
a. that developed largely in cities like Buenos Aires and Paris

8. Mariachi music
d. all of the above

9. Because of differing patterns in the institution of slavery
b. Afro-Cuban music sounds more “African” than African American blues

10. A secular, traditional Cuban dance music that features singing, conga drums, other Latin percussion instruments, and an often “flirtatious” style of dancing is
c. rumba

11. The batá drums are principally associated with religious rituals and musical traditions of the ____________ religion.
a. Santería

12. __________ is the rhythmic basis of virtually all forms of Cuban-derived Latin dance music.
a. Clave

13. In 18th century Cuba, creolized dance-music styles emerged partly because
a. white Cubans saw them as viable alternatives to outmoded European dances of the time like the waltz and the mazurka

14. The danzón, Cuba’s “national dance” of the 1920s, was accompanied by an ensemble called
c. charanga

15. Because of the influence of Cuban son music, charanga groups that specialized in playing the danzón
c. were inspired to incorporate more Afro-Cuban elements into their danzón arrangements

16. Enrique Jorrin created the cha cha chá with the intention of
a. devising a Cuban dance-music style that would appeal to non-Cuban dancers

17. The cha cha chá style of Enrique Jorrin
b. was relatively simple rhythmically and featured moderate tempos

18. During the 1950s, after the international dance craze for cha cha chá had passed,
b. New York Latin bandleaders adopted and adapted it, blending it with elements of big band mambo

19. Which of the following was NOT a feature of 1950s mambo?
c. rock influences

20. During the 1950s, dancing at the Palladium Ballroom
d. B and C, but not A

21. In arrangements like Tito Puente’s “Oye Como Va,” 1950s Latin bandleaders fused the cha cha chá with the
b. mambo

22. 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
a. slightly faster in tempo

23. The first Santana arrangement that fused rock and Latin dance music was
b. “Evil Ways”

24. Carlos Santana was born in
d. Mexico

25. According to Carlos Santana, he decided to play “Oye Como Va” because
a. it would inspire people to dance

26. After Santana’s “Oye Como Va”
c. Tito Puente began to get more widespread recognition

27. Tito Puente Jr.’s version of “Oye Como Va” (the example on your CD set)
c. introduces novel elements and rhythmic grooves while also incorporating elements from both the original Tito Puente version and the Santana version of the song