Abstract In this article the writer looks at the Japanese Emperor Hirohito using Herbert P. Bix's extensive biography 'Hirohito and the Making of Modern Japan'. The writer discusses that Bix demonstrates in the book how the representative of Japanese traditions and of ties to Imperial Japan incidentally ruled during the period that saw Japan enter the modern world and become a world economic power. The writer maintains that the conventional view of the aggressive stance taken by Japan in the 1930s and into the 1940s is that Hirohito simply went along with what his ministers demanded. The writer shows that Bix has a different view and uses primary sources and documentation to demonstrate that the Emperor took a more active role in the push for war. The writer concludes with Bix's analysis that Hirohito was indeed culpable for the attack on Pearl Harbor and for the war itself.
From the Paper "The details of his life are covered, showing him to have been a man of the Twentieth Century from his birth in 1901 to his death in 1989. He was the grandson of Emperor Meiji, and his father, Emperor Taisho, attained power in 1912. Hirohito was tied to the past largely in terms of his royal role, but he himself studied to be a marine biologist and was interested in the natural sciences. He also visited Europe, the first Japanese prince eve to do so. He became emperor when his father died in 1926. The constitution of Japan restricted the actions of the emperor so that he could only act on the advice of his ministers and his chiefs of staff, but Hirohito showed himself willing to act when he deemed it necessary in spite of these restrictions."
This paper analyzes the development of jazz in the United States: Early influences, Ragtime, Blues, New Orleans Jazz, Big Band Jazz and Bebop, Scott Joplin, Jelly Roll Morton, King Oliver, Louis Armstrong, Bix Beiderbedke, Charlie Parker, Thelonious Mon
2,025 words (approx. 8.1 pages), 10 sources, 1991, $ 71.95
From the Paper "This paper will provide an analysis of the development of jazz in the United States. After a brief overview of the history of the art form, the paper will turn to an analysis of some of the major types of early jazz--ragtime, blues, New Orleans jazz, the Big Band, and Bebop. Finally, the paper will conclude with some of the personalities that made jazz such a vital and exciting art form: Scott Joplin, Jelly Roll Morton, King Oliver, Louis Armstrong, Bix Beiderbecke, Charlie Parker, and Thelonious Monk.
During the 1920s, while European classical music was being "turned upside down" by such composers as Arnold Schoenberg and Igor Stravinsky, the United States was quietly, developing its own distinct and separate musical form with a decidedly unclassical name--jazz. At this point, jazz was not the product ... "
Abstract Jazz was created as a reaction to the African-Americans' need to create their own form of culture. This paper examines how jazz evolved from the black marching bands of New Orleans after the Civil War. The paper examines the history of jazz from the 1920s and 1930s until World War II.
From the Paper "As the decade progressed, the performance styles in all groups featured more written arrangements and placed increasing emphasis on solo performance. Representative of the many players who led the outburst of jazz virtuosity in the 1920s were Sidney Bechet, Ferdinand "Jelly Roll" Morton, Coleman Hawkins, Armstrong, and James P. Johnson. Among the leaders in establishing the sound of the new big bands were Fletcher Henderson (with Don Redman, his arranger) and Edward Kennedy "Duke" Ellington. It was Henderson who developed the performance style that became known as swing, featuring call-and-response patterns between brass and reeds."
Abstract This paper explains that, with the closing of the Storyville seaports in New Orleans and increased discrimination in the south, numerous musicians began to venture to Chicago and New York with hopes of finding prosperity in their field of business--jazz. The author points out that, in Chicago, the four main styles of jazz were Boogie Woogie, Chicago Jazz, Society Jazz and Urban Blues and the major innovators were Bix Beiderbecke and Benny Goodman. The paper relates that, in New York's Harlem area, which did more for the Jazz age then any other town in the world, jazz flourished in the different styles of bands from big band to spasm bands and in innovators such as Paul Whiteman, James Reese Europe and Fletcher Henderson, which resulted in the Harlem Renaissance that opened the eyes and the mouths of African-American public.
From the Paper "Bandleader Paul Whiteman was another major New York Jazz figure of the era. He was especially famous for introducing jazz into the mainstream audience of the decade. Not only was he a great performer of the day, be he also gave back to the jazz community as an avid listener and audience member himself. For instance, Duke Willington stated, "no one could fault Whiteman for his generosity of spirit." In 1924, after finishing his evening at New York's Palais Royal, he would stop by around the corner at the Kentucky Club to soak up the sounds of Duke Ellington and his Club Serenaders."
