1 |
Which of the following best describes "head arrangement" as the term is used in line 11? |
A. |
A published version of a gospel song produced for use by Black singers |
B. |
A gospel song based on a slave spiritual |
C. |
A musical score shared by a gospel singer and a jazz musician |
D. |
An informally written composition intended for use by a gospel singer |
E. |
An improvised performance inspired by the singer's emotions |
2 |
The author mentions "folk fashion" (line 4) most likely in order to |
A. |
counter an assertion about the role of improvisation in music created by Black people |
B. |
compare early gospel music with gospel music written later in the twentieth century |
C. |
make a distinction between gospel music and slave spirituals |
D. |
introduce a discussion about the dissemination of slave spirituals |
E. |
describe a similarity between gospel music and slave spirituals |
3 |
The passage suggests which of the following about Black gospel music and slave spirituals? |
A. |
Both became widely known in the early twentieth century. |
B. |
Both had an important improvisatory element. |
C. |
Both were frequently performed by jazz musicians. |
D. |
Both were published with only a vocal line and piano accompaniment. |
E. |
Both were disseminated chiefly by Black singing groups. |
4 |
Of the following sentences, which is most likely to have immediately preceded the passage? |
A. |
Few composers of gospel music drew on traditions such as the spiritual in creating their songs. |
B. |
Spirituals and Black gospel music were derived from the same musical tradition. |
C. |
The creation and singing of spirituals, practiced by Black Americans before the Civil War, continued after the war. |
D. |
Spirituals and gospel music can be clearly distinguished from one another. |
E. |
Improvisation was one of the primary characteristics of the gospel music created by Black musicians. |