Abstract In this article the writer discusses the roots and characteristics of bebop. The writer provides a brief history of the origins of jazz. This history includes information regarding R. & B., swing, and Rock n' Roll. The writer examines the role of minority artists in creating bebop.
From the Paper "The roots of jazz extend back to Africa, the slave trade and the musical alterations and blends that took place in what is now the United States. The music of blacks, whites, Hispanics and possibly even the indigenous peoples of North America was combined into folk styles, known as blues or gospel, played initially almost exclusively by African American musicians in the South. It was distinguished by syncopated rhythms and the use of bent tones known as blues notes in both vocals and instrumentals."
Abstract Charlie Parker, born Charles Christopher Parker in 1920, was a product of Kansas City jazz as developed in the 1920s and 1930s. Parker is associated with the development of the Bebop style, and he was highly influential on jazz players who followed him. His life was short and tragic, marked by drug addiction and attempted suicide.
From the Paper "Charlie Parker, born Charles Christopher Parker in 1920, was a product of Kansas City jazz as developed in the 1920s and 1930s. Parker is associated with the development of the Bebop style, and he was highly influential on jazz players who followed him. His life was short and tragic, marked by drug addiction and attempted suicide. He was 35 when he died, but his life had been so hard on him that the death certificate gave his age as 55 because that was how he appeared (Rich 47).
Bebop represents modern jazz, which emerged as a distinctive style from movements taking place from the 1920s. Ted Gioia associates bebop with the larger force of modernism, and he notes that jazz had from the first been a modernist music whose leaders always looked forward and developed new musical forms. The rise of a new and more open modernism in the 1940s seemed an abrupt ..."
Abstract This paper examines how jazz music can be identified, but not easily defined by, its variety of forms and how one distinguishing characteristic of jazz is its ability to lend itself to individuality among artists. It looks at how performers of jazz have enjoyed modifying and adjusting certain music elements to set themselves apart, as well as to make a statement,and how one movement that has emerged from this new attitude toward jazz is the Third Stream, which fuses Western musical influences with classical music. It discusses how the Third Stream movement is significant because it revives the dying tradition of bebop and encourages young jazz performers to redefine jazz.
From the Paper "Gennari explains the divide that existed between swing and bebop as a "a dispute between groups that were simply looking for different things from the music. The established audience was looking for familiar rhythms and melodies for purposes of dance, romance, and nostalgia; the newer audience was looking for bold experiments in harmony and fresh approaches to time and tempo for purposes of sensory inspiration and aesthetic fulfillment" (Gennari 491). We can certainly see how such performers as Gunther were reaching for a new and exciting experience while still holding onto the roots of the jazz music they loved."
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 This paper delves into the indigenous, American creation of jazz music. It looks at the relationship between the origins of jazz and the history of African-Americans, the main characteristics of jazz music, and the instruments originally used for playing jazz. The beginning of jazz music in New Orleans is discussed, as well as some of the influences on the music and the different types of jazz that evolved over time. Famous jazz musicians and singers are also mentioned.
From the Paper "A significant relationship exists between the origins of jazz and the history of African-Americans. To entertain themselves and get through the grueling days, plantation slaves would perform music that would remind them of their African homeland. Their songs, sounds and compositions would be on the wide variety of singing, rhythms and melodies that ranged throughout the continent."
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 Jazz is the dynamic tension between the expected and the improvised. Miles Davis was brought up torn between his well-to-do white-emulating upbringing and his black heritage. Davis not only bridged this gap but helped create entire new musical vocabularies throughout his long and varied career as a jazz trumpeter. This report shows his evolution and his continuing influence on other musicians, as described in his biography, "Miles Davis: A Biography," written by Ian Carr.
Paper Outline:
Abstract
Introduction
Childhood
Further Development
Evolution, Addiction, & Resurrection
His Influence on Music Today
Concluding Remarks
References
From the Paper "He worked with and was a catalyst for Tony Williams, Jack DeJohnette, Herbie Hancock, Chick Corea, Wayne Shorter, Ron Carter, and countless others(p234). Many times in his career it had been declared that he already "peaked" and was a remnant of the 50's, of bebop, of cool jazz, of fusion jazz. But he never let himself grow complacent and become an icon of the past. By not producing unless he had something new to say, he was able to continually stay relevant, and re-invent himself every few years (p183). "
