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This test consists of 15 multiple choice questions and 5 short answer questions.

Multiple Choice Questions

1. What language does Gilroy say sometimes dominates the language of racial emancipation in black music?
(a) Power.
(b) Industry.
(c) Technology.
(d) Sexuality.

2. Whose narrative does Gilroy say rests upon the narrative of the black Atlantic?
(a) The factory owners'.
(b) The liberated woman's.
(c) The white European's.
(d) The modern workers'.

3. What contradiction did Martin Robison Delany NOT embody in his beliefs, according to Gilroy?
(a) Nationalist and internationalist beliefs.
(b) Abolitionist and pro-slavery convictions.
(c) Radical and conservative nationalism.
(d) Pro- and anti-Africa feelings.

4. When were the Fisk University Jubilee Singers performing?
(a) 1890s.
(b) 1870s.
(c) 1920s.
(d) 1950s.

5. What kind of political community does Gilroy say results from black musical society?
(a) Socialist.
(b) Traditional.
(c) Democratic.
(d) Communist.

6. How does Gilroy say the Black Atlantic should be understood?
(a) As a unit of cultural analysis.
(b) As a form of economic exchange.
(c) As a collision of cultures.
(d) As a period in race relations.

7. What role has music played in debates of modernity according to Gilroy?
(a) It has been ignored.
(b) It has been dismissed as a popular form of commerce.
(c) It has defined the counter-culture.
(d) It has been central to definitions of modernity.

8. What does Gilroy say master-race intellectuals often do to race?
(a) Subsume it into working class consciousness.
(b) Reduce it to marketable cultural forms.
(c) Fetishize it.
(d) Essentialize it in opposition to the master race.

9. Who were the Fisk University Jubilee Singers' predecessors?
(a) Southern blues singers.
(b) Abolition singers.
(c) Appalachian spiritualists.
(d) African drummers.

10. What does this image symbolize for Gilroy?
(a) A macrocosmic view of race relations.
(b) A theme to improvise on as he continues.
(c) A micro-cultural, micro-political system.
(d) A formula for evaluating race relations in history.

11. What was Martin Robison Delany searching for?
(a) Equal voting rights for black women.
(b) Modern scientific terms for race.
(c) African customs in slave cultures.
(d) Black roots.

12. Where does Gilroy say black intellectuals have gone to get in touch with elements of modern subjectivity?
(a) The ghetto.
(b) The suburbs.
(c) The mall.
(d) The factory.

13. What is the notion of the black Atlantic opposed to as Gilroy defines it?
(a) Equal pay.
(b) Cultural historicism.
(c) Oppositional ethnic ideologies.
(d) Racial relativism.

14. What kind of conception of blackness does Gilroy say he prefers?
(a) Pluralistic.
(b) Modern.
(c) Accommodationist.
(d) Essential.

15. What effect do international corporations have on black musical styles in Gilroy's opinion?
(a) They drive change in the forms.
(b) They freeze the forms.
(c) They follow the innovators.
(d) They reward the simplest innovations.

Short Answer Questions

1. What cultural work does Gilroy say music has performed?

2. How does Gilroy characterize the residual feelings from slavery?

3. How does Gilroy say racial roots should be understood?

4. What does Gilroy say about music's status in culture?

5. What relation does Gilroy say Western culture has with black politics?

(see the answer keys)

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