The following terms in boldface (as well as a few concepts not specifically listed, but indicated in these review questions) are drawn from these Chapters and class lectures on this material. You should know all of these terms, including their (1) spelling, (2) pronunciation, and (3) definition, and be able to use them correctly in speaking and writing about music.

Please note that while you are not responsible for Listening on this test, you may find it useful to review the examples in these Chapters included on the CD accompanying the textbook. You will be tested on the Listening examples in a separate Listening quiz.

1. You are responsible primarily for only pp. 267-284 in Chapter 9. No factual information from elsewhere in this chapter will be on the final exam, but you are encouraged to read the entire chapter for the test.
2. What does the term avant garde mean, and what does it imply for jazz in the 1960s? What were the leaders of jazz's avant garde in the 1906s?
3. Who was Ornette Coleman and what were some of the controvesial ideas he promoted in his career? What was the album Free Jazz and why was it so controversial? What were "harmolodics"?
4. Who was John Coltrane, and how and why was he important in the history of jazz? What instrument did he play, and with what important groups/leaders did he work as a sideman? When did he form his own group, and what is unique or significant about Coltrane's style of improvisation? What are "sheets of sound"?

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5. You are responsible primairly for only pp. 301-304, 311-314, and 316-318 in Chapter 10. No factual information from elsewhere in this chapter will be on the final exam, but you are encouraged to read the entire chapter for the test.
6. What sorts of music was Miles Davis making in the 1960s, and with whom? Who where some of his most important sidemen in this era, what instruments did each play and with what later groups were they associated?
7. Who were Joe Zawinul, Herbie Hancock, and Chick Corea? What was a Fender-Rhodes piano, and what was significant about its use in the 1960s?

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8. You are responsible primairly for only pp. 325-334 and 337-351 in Chapter 11. No factual information from elsewhere in this chapter will be on the final exam, but you are encouraged to read the entire chapter for the test.
9. What does the term "fusion" imply in jazz in the 1970s and beyond? What are some other terms associated with this sound? What new instruments are used in this style, and what are some of the general traits that define the sound of "fusion"?
10. What important album by Miles Davis marks the beginning of "fusion"? What changes did Davis make in his group and their sound?
11. Who were Mahavishnu Orchestra, Headhunters, Return to Forever, and Weather Report, who were the leaders of these groups (and what connections did they have to Miles Davis), and what other influences did each include in their sound?

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12. You are responsible primairly for only pp. 357-362 and 373-375 in Chapter 12. No factual information from elsewhere in this chapter will be on the final exam, but you are encouraged to read the entire chapter for the test.
13. How has jazz become a type of "classical music" in recent decades? What are complete jazz-recording reissues, jazz pedagogy and the idea of a jazz repertory? How do these help to "classicize" jazz?
14. What is "smooth jazz" and what are some of its sounding traits?