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Bebop came to the forefront of jazz and experienced its most concentrated development in the years:

1895 - 1910
1910 - 1925
1925 - 1940
1940 - 1955
1955 - 1970

Bebop was primarily played by:

Dixieland bands
big bands
small groups (e.g., quartets, quintets)
ragtime pianists
all of the above

The common instrumentation of a bebop ensemble was (is):

trumpet, saxophone, piano, bass, drums
fives saxes, four trumpets, four trombones, piano, bass, drums, and sometimes guitar
organ, saxophone (or guitar), drums
trumpet, clarinet, trombone, piano, tuba (or string bass), banjo (or guitar), drums
clarinet, banjo and/or acoustic guitar, gutbucket string bass, blues harp (harmonica), washboard

In bebop, the primary focus is on

collective improvisation, i.e., two or more musicians soloing at the same time
elaborate arrangements
each soloist improvising one at a time (in turn) with rhythm section accompaniment
ragtime
all of the above

The basic performance practice of a bebop ensemble was (is)

collective improvisation, i.e., everyone soloing at the same time
written arrangements with short improvised solos interspersed
the head played in unison by the horns for the first and last chorus with a lot of improvised solos in between
the head played by trumpet with clarinet melodic embellishment and trombone “afterbeats” and sound effects (such as “smears” and “slides”)
all of the above

An informal, non-rehearsed gatherings of musicians in which they play together, challenge each other (who can “outplay” whom), and learn from each other is called a(n)

gig
rehearsal
engagement
speakeasy
jam session

One of the most famous bebop jam session spots was

Birdland (on Broadway, a few blocks west of 52nd Street in New York)
Minton’s Playhouse (in Harlem)
The Blackhawk (in San Francisco)
Catalina’s (in Los Angeles)
The Village Vanguard (in Greenwich Village in New York)

Compared to Swing,

bebop harmonies (chords) are more complex
bebop tempos are often much faster than Swing tempos
bebop heads are more intricate and difficult to play than most Swing melodies
bebop musicians improvise far more complex solos than those of the Swing Era
all the above

Which of the following is most correct?

Neither big band swing nor bebop was considered art music.
Whereas big band swing was considered art music, bebop was considered entertainment (i.e., dance music).
Whereas big band swing was considered entertainment (i.e., dance music), bebop was considered art music.
Both big band swing and bebop were considered entertainment.
Both big band swing and bebop were considered art music.

The two most important bebop musicians, i.e., the primary architects of the bebop style, were

Louis Armstrong and Bix Beiderbecke
Count Basie and Duke Ellington
Benny Goodman and Fletcher Henderson
Charlie Parker and Dizzy Gillespie
Miles Davis and John Coltrane

Charlie Parker’s nickname was

Bird
Satchmo
Dizzy
Chuck
Pops

The type of singing in which the vocalist imitates the style of bebop jazz solos (as played by instrumentalists) using nonsense syllables is called

vocalise
song improvisation
scat singing
vocal bebopping
vocal jazz

The most important scat singer of the bebop era was

Diana Krall
Ella Fitzgerald
Charlie Parker
Billie Holiday
Dizzy Gillespie

The demise of the Swing Era big bands was, in part, due to

the World War II draft, i.e., many jazz musicians were called to war
bands “raiding” each other, i.e., with so few musicians left at home during World War II, band leaders “stole” musicians from other bands, offering them a slightly better deal (e.g., more money); bands that were intact before the War were depleted
midnight curfews (called “brown-outs”) during the World War II years that limited the amount of engagements (gigs) that bands could get
the fact that during World War II, transportation to reach night spots outside city limits was difficult due to gas shortages (gas rationing), tire shortages (rubber rationing), and the dismantling of urban and interurban railways
all of the above

Bebop reflected the culture of the times; like the African American experience at the time, the music

was difficult
alluded to the blues
explored new directions and uncharted territory
was separate from the mainstream of America
all of the above

Cool Jazz came to the forefront of jazz and experienced its most concentrated development in the years:

1942 - 1948
1949 - 1955
1956 - 1962
1963 - 1969
1970 - 1976

Whereas bebop was “hot,” i.e., loud, exciting, and loose, cool jazz was “cool,” meaning it was

usually softer than bebop
usually “more reserved” than bebop
usually more controlled than bebop
hipper than bebop
A, B, and C

Cool Jazz groups

ranged in size from trios to nonets (nine-piece band)
blended jazz elements with classical music elements
used more written arrangements than bebop
all of the above
A and B

The artist who recorded the landmark album, Birth of the Cool, was trumpeter

Dave Brubeck
Gerry Mulligan
Chet Baker
Miles Davis
Dizzy Gillespie

During the Cool Jazz era, cool jazz reflected American culture including the fact that

“keeping cool” was an expression of emotional self-control in times of crisis that was found in American street slang as well as in the language of army test pilots
after many labor strikes, Congress passed the Taft-Hartley Act, mandating a “cooling off period” in labor disputes
America’s top choice of entertainment had “cooled down” from the nightclubs, dance halls, amusement parks, vaudeville, etc. of prior generations to television featuring shows about simple suburban life (e.g., Leave It To Beaver)
due to the newly developed weapon of mass destruction, the atomic bomb, cool thinking was required at this crucial point in history
all of the above

Hard Bop came to the forefront of jazz and experienced its most concentrated development in the years:

1951 - 1958
1959 - 1966
1967 - 1974
1975 - 1982
1983 - 1990

The two factions (subsets) of hard bop were (are)

free jazz and fusion
big bands and combos
ragtime and Dixieland
mainstream and funky jazz
bebop and swing

One of the most important Hard Bop groups in jazz history was the
1. Dave Brubeck Quartet
2. Modern Jazz Quartet
3. Miles Davis Quintet (1950s version)
4. Miles Davis Quintet (1960s version)
5. Benny Goodman Sextet
Which of the following jazz artists is NOT associated with Hard Bop?
1. Cannonball Adderley
2. Art Blakey
3. Dave Brubeck
4. John Coltrane
5. Miles Davis

In general,

Cool Jazz was more “West Coast” and Hard Bop was more “East Coast”
Cool Jazz was more “East Coast” and Hard Bop was more “West Coast”
Cool Jazz reflected the fast-paced, driving, complex New York lifestyle
Hard Bop reflected the image of casual, laid back California suburbia
Hard Bop was more popular than Cool Jazz

Fill in the blank with the correct answer

Bebop came to the forefront of jazz and experienced its most concentrated development in the years: ______________________.
A typical bebop combo is comprised of (instrumentation)_________________________________.
Whereas in Big Band Swing the focus is on the arrangement and the playing of the ensemble, in bebop the focus is on the _________________________________.
The basic format of a bebop tune performance is ___________________________________.
An informal, non-rehearsed gathering of jazz musicians in which they play together, challenge each other (who can “outplay” whom), and learn from each other is called a(n)__________________________.
The most famous bebop jam session spot in the 1940s was a nightclub in Harlem called _______________________________________.
Whereas Big Band Swing was considered entertainment (i.e., dance music), bebop was considered _______________________.
The two most important bebop musicians, i.e., the primary architects of the bebop style, were ___________________________.
“Bird” was the nickname of what bebop musician? _______________.
The type of jazz singing in which the vocalist improvises in the style of bebop jazz solos (as played by instrumentalists) using nonsense syllables is called __________________.
The most important scat singer of the bebop era was female vocalist ___________________.
Compared to Swing, bebop harmonies (chords) and improvised solos were more ___________________.
The demise of the Swing Era big bands was, in part, due to what war? ________________________________.
Cool Jazz came to the forefront of jazz and experienced its most concentrated development in the years: ____________________.
Compared to bebop jazz which was (is) “hot,” i.e., loud, exciting, and loose, Cool jazz was (is) “ __________________,” that is, _________________________.
Cool jazz combos ranged in size from ____ pieces to _______. pieces.
The instrumentation of the Miles Davis Nonet consisted of _______________________________________________.
Cool jazz was a blending of jazz and _______________________________________.
Cool jazz often included _______________________, that is, two or more melodic lines occurring at the same time.
One of the first and most important Cool Jazz artists was trumpeter _________________________ who recorded the landmark album, Birth of the Cool.
The innovative Cool Jazz artist who brought jazz to college campuses and recorded the first million-selling jazz hit “Take Five” was pianist ___________________________________.
Hard Bop came to the forefront of jazz and experienced its most concentrated development in the years: __________________.
The two factions (subsets) of hard bop were (are) _________________________.
Geographically speaking, Hard Bop was more ___________ Coast while Cool Jazz was more ___________ Coast.
One of the most important Hard Bop jazz drummers was ______________________, whose group entitled the “Jazz Messengers” was the breeding ground for many of the greatest jazz musicians from the 1950s to today.

Write a one to two page answer.
Essay Question #1
Discuss Bebop. Include key dates, instrumentation, performance practices, key figures, and cultural implications.

Essay question #2
Discuss Cool Jazz. Include key dates, instrumentation, performance practices, key figures, and cultural implications.

Essay question #3
Describe the primary differences between Bebop and Cool Jazz.

Essay question #4
Discuss Hard Bop, including its two factions (subsets): mainstream and funky jazz. Include key dates, instrumentation, performance practices, key figures, and cultural implications.

Essay question #5
Discuss how the Great Depression, World War II, and the Post-War Period (1929-1949) effected Americans in general and African Americans in particular. How did these events effect jazz?

Please answer true or false to the following questions.

1.	Bebop was at the forefront of jazz and went through its most concentrated growth and development from 1940 – 1955.	T	F
2.	Bebop was (is) primarily played by big bands.	T	F
3.	Whereas in Big Band Swing the focus was (is)on the soloist, in Bebop the focus was (is) on the arrangement and the playing of the ensemble.	T	F
4.	The basic format for the performance of a bebop tune is: head played in unison by the horns for the first and last chorus with a lot of improvised solos in between.	T	F
5.	Informal, non-rehearsed gatherings of musicians where they play together, challenge each other (who can “outplay” whom), and learn from each other are called club dates.	T	F
6.	For the most part, Bebop was (is) far more musically complex than its Big Band Swing counterpart.	T	F
7.	Whereas Big Band Swing was considered entertainment (i.e., dance music), bebop was considered art music.	T	F
8.	The two most important bebop musicians were Dave Brubeck and Miles Davis.	T	F
9.	Charlie Parker’s nickname was “Bird.”	T	F
10.	The demise of the Swing Era big bands was, in part, due to World War II.	T	F
11.	Racism and segregation were rampant in America during the Swing and Bebop eras.	T	F
12.	Bebop came about in part because many African American jazz musicians became increasingly disenchanted with Swing music the more they watched European Americans capitalize on it; they wanted to create their “own” music, a music that was not for dancing but for listening: a true African American art form.	T	F
13.	Cool Jazz was at the forefront of jazz and went through its most concentrated growth and development from 1949 – 1955.	T	F
14.	Whereas bebop was “hot,” i.e., loud, exciting, and loose, cool jazz was “cool,” i.e., soft, more reserved, and controlled.	T	F
15.	“Classical” instruments such as flute, French horn, tuba, and vibraphone (vibes) were often found in Cool Jazz groups.	T	F
16.	Cool Jazz was Afro-centric, blending Negro spirituals, blues, gospel music, and rhythm and blues (R&B).	T	F
17.	Unlike Bebop, much of Cool Jazz was arranged (written) ahead of time.	T	F
18.	One of the first and most important Cool Jazz artists was trumpeter Dizzy Gillespie who recorded the landmark album Birth of the Cool.	T	F
19.	Cool Jazz pianist Art Blakey was instrumental in bringing jazz to college campuses in the 1950s, and recording the jazz mega-hit, “Take Five.”	T	F
20.	Bebop and Hard Bop were associated with the West Coast (e.g., California); Cool jazz was associated with the East Coast.	T	F
21.	Hard Bop was at the forefront of jazz and went through its most concentrated growth and development from 1951 – 1958.	T	F
22.	Hard Bop was, in part, a reaction to Cool Jazz in that many jazz musicians felt that with cool jazz, the music had become too “classical” in nature, that is, too European (not enough “blues”).	T	F
23.	The two factions (subsets) of Hard Bop were (are) Mainstream and Free Jazz.	T	F
24.	Hard Bop, in part, was a means of artistic expression by young African American men to demonstrate their dissatisfaction with the social, political, and economic climate of America in the 1950s, i.e., segregation and lack of economic equity.	T	F
25.	The Miles Davis Quintet of the 1950s was one of the most important Cool Jazz groups in jazz history.	T	F

Match the words in the columns correctly.

1. Bebop (dates)	A. Bebop architect	1. _____
2. Bebop combo typical instrumentation	B. famous scat singer	2. _____
3. Bebop tune performance format	C. "hot", i.e., loud, exciting, and loose	3. _____
4. informal performance gathering of jazz musicians	D. 1949 - 1955	4. _____
5. famous 1940s Harlem jam session nightclub	E. Hard Bop drummer; leader of the Jazz Messengers	5. _____
6. Big Band Swing vs. Bebop	F. blending of jazz and classical music	6. _____
7. Cool Jazz vs. Hard Bop	G. Modern Jazz Quartet	7. _____
8. Bebop vocal jazz improvisation	H. West Coast vs. East Coast	8. _____
9. facets (subsets) of Hard Bop	I. trumpet, saxophone, piano, bass, drums	9. _____
10. Great Depression (dates)	J. 1951 - 1958	10. _____
11. Cool Jazz (dates)	K. 1940 - 1955	11. _____
12. Bebop "vibe"	L. California	12. _____
13. Cool Jazz "recipe"	M. Cool Jazz pianist; recorded "Take Five"	13. _____
14. primary Hard Bop geographical location	N. entertainment vs. art music	14. _____
15. primary Cool Jazz geographical location	O. New York	15. _____
16. two melodic lines occurring simultaneously	P. Mainstream and Funky Jazz	16. _____
17. World War II (dates)	Q. jam session	17. _____
18. famous Cool Jazz group	R. scat singing	18. _____
19. famous Hard Bop group	S. 1929 - 1940	19. _____
20. Hard Bop (dates)	T. head - improvised solos - head	20. _____
21. Dave Brubeck	U. 1941 - 1945	21. _____
22. Miles Davis	V. Miles Davis Quintet (1950s version)	22. _____
23. Ella Fitzgerald	W. Minton's Playhouse	23. _____
24. Charlie Parker	X. counterpoint	24. _____
25. Art Blakey	Y. Cool Jazz and Hard Bop trumpeter	25. _____