US Band Music and the Peace Jubilees TriviaOnline version MUS 314 Discussion by Angelica Trujillo 1 Which war was dubbed “the most musical war in history?” a Franco-Prussian War b US Revolutionary War c US Civil War d WWI 2 The rapid growth of US community bands in the 19th century correlates most directly with: a Martial Law policies that required participation b New technologies, e.g.: pistons and valves c New conservatories, e.g.: Juilliard d New performance venues, e.g.: Aeolian Hall 3 19th-century bands relied heavily on arrangements and transcriptions a True b False 4 Established composers like Wagner, Liszt, and Bruckner discouraged band arrangements and transcriptions. a True b False 5 Approximately how many musicians participated in the World Peace Jubilee in Boston, 1872? a 220 b 2200 c 22,000 d 2,200,000 6 A contrasting section of a march that is particularly intense—loud and fast—is a/an: a Break strain b Encore c Stinger d Vamp 7 A short, accented final chord in a march is a/an: a Break strain b Encore c Stinger d Vamp 8 Which figure was most directly responsible for organizing and arranging the music for the National (1869) and World (1872) Peace Jubilees in Boston? a John Philip Sousa b Patrick S. Gilmore c Theodore Thomas d George M. Cohan 9 Which musical feature of 19th-century marches most clearly supports the idea of “development” rather than simple repetition a Strict da capo repetition of sections b The absence of contrasting sections c The use of varied repeats of the Trio and Break Strain sections d A fixed tempo with no dynamic contrast 10 In the context of 19th-century US band culture, what role did mass public spectacles like the Peace Jubilees primarily serve? a Entertainment only, with no political meaning b Promotion of individual virtuosity over collective sound c Symbolic nation-building through collective performance and post–Civil War reconciliation d Testing new concert hall acoustics
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