Which excerpt represents the call-and-response format derived from jazz music?

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Question:

Which excerpt represents the call-and-response format derived from jazz music?

A. Deferred
by Langston Hughes (excerpt)
Maybe now I can have that white enamel stove
I dreamed about when we first fell in love
eighteen years ago.
But you know,
rooming and everything
then kids,
cold-water flat and all that.
But now my daughter’s married
And my boy’s most grown–
quit school to work–
and where we’re moving
there ain’t no stove–
Maybe I can buy that white enamel stove!
B. Island
by Langston Hughes (excerpt)
Black and white,
Gold and brown–
Chocolate-custard
Pie of a town.
Dream within a dream,
Our dream deferred.
Good morning, daddy!
Ain’t you heard?
C. Harlem
by Langston Huges (excerpt)
Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?

Answer:

The excerpt that actually represents the call-and-response format derived from jazz music is:

A. Deferred

by Langston Hughes (excerpt).

Call-and-Response

Call-and-response is known to be a form of music that states a melody in a phrase and then the idea stated is completed by a second phrase.

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In this format, the second phrase is usually heard as a direct comment or response to the first.

From the answer and question examples above, hopefully, they may guide the student sort out the question they had been looking for and observe of every detail declared in the answer above. You could definitely then have a discussion with your classmate and continue the school learning by studying the question collectively.

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