Abstract This paper explores the life and works of Sidney Bechet, the great soprano saxophonist and one of the most innovative and original clarinetists in jazz. The author describes the key quality that Bechet brought to jazz was his musical freedom, his Creole heritage and the musical influence of his family. Bechet's music is all about singing and he truly seemed to find his voice when he mastered the sax and was a great improviser with a passion for life as well as music.
Table of Contents
About Sidney Bechet
Musical Style
Soprano Sax and Clarinet
Other Instruments
Comparing Styles through his Music
Literature Review
Summary
Bibliography
From the Paper "Sidney Bechet was a pioneer jazz musician who changed the music of his time into a unique art form. Considered to be one of the greatest jazz musicians of New Orleans, Bechet was an innovator on both the clarinet and saxophone. His music changed jazz music forever and inspired countless musicians of all types.
Bechet was born in New Orleans in May 1897. He was of Creole ancestry and grew up in a middle class neighborhood. He was greatly influenced by music, as his father, a shoemaker, played the flute as a hobby, and his four brothers played various instruments, as well. (Chilton)"
Abstract This paper explains that, through play, children grow in the understanding not only of themselves, but also of others and the world around them, especially in their capacity to communicate with their friends and adults. The author points out that the linguistic competence, which is necessary for success in school, has been linked to improvisational exchanges in children's pretend play. The paper concludes that the progression from simple to complex play is not an easy shift for some children, who may exhibit nonsocial behavior, which is a negative indicator in terms of academic success.
Table of Contents
Statement of Thesis
Introduction
Progression of Play in Development
Pretend Play
Formal Playing by the Rules
Adult Interaction and Role in Children's Play
Conclusion
From the Paper "Pretend play becomes prominent as the child becomes developmentally able to represent symbolically experience and at this stage, the beginning of role-playing is adapted by children as a form of expression of their feelings and ideas about the world around them in a social sense. Children assume alternate identities, or roles in their play some of which are functional and other which are stereotypical and assumed from the culture of the world they have experienced such as role-playing as a nurse, a super-hero, fireman, and others."
This paper reviews the jazz collection of five works by Miles Davis on the CD "Kind of Blue" in which he is joined by legendary players on piano, drums, bass, alto and tenor saxophone.
910 words (approx. 3.6 pages), 0 sources, 2005, $ 32.95
Abstract This paper explains that the pieces in Miles Davis' jazz CD "Kind of Blue" are loosely composed, consisting of improvisation within a musical framework, which produces a feeling of freedom without the clutter of a larger ensemble. The author points out that, when the listener focuses on just hearing the music, he or she can discover the structure behind the melodies and appreciate each instrument and its player individually. The paper relates that the favorite piece on the CD is "Blue in Green", which is the most melodic piece in the collection; Bill Evans creates a lush and romantic mood and his playing invites the listener to put down whatever he is doing and just listen.
From the Paper "Bill Evans's piano solos gave a languid feeling with an unhurried, soft touch that was romantic and contemplative. Between the two saxophonists, I preferred the work of John Coltrane, who has a dusky sound that broadens as it gains volume. Cannonball Adderly's alto sax brought the energy level up and made me feel like getting up off the couch and moving around. I was struck by the contrast of these two players and, although alto and tenor saxes play in different registers, the difference in their sound is attributable to more than this. It is a matter of individual style and each musician's approach. This switch in mood makes the CD more interesting and eliminated any possibility of monotony or of boredom on the part of the listener."
Abstract This paper discusses two strategy formulation frameworks: scenario planning and competing-on-the-edge. The author points out the complexities involved in managing change and stresses that effective strategy formulation requires that the management takes into account decision variables operating in both the internal environment and the external environment. The author underscores that the planned and emergent approaches to strategy formulation under scenario planning and under competing-on-the-edge frameworks facilitate the process of striking a balance between change and the status quo. The paper concludes that the process of strategy formulation has to be improvisational in terms of combining approaches with frameworks innovatively.
From the Paper "The benefits of the emergent approach applied in the context of competing on the edge may be limited by the disadvantages of making the firm a follower. However, according to the analysis above, the disadvantages have minimal effects because the operational requirements of the emergent approach demand that the organizational culture promotes novel ways of doing things. In other words, the emergent approach, particularly when applied in competing on the edge, demands constant process of business process reengineering."
Abstract The paper compares and contrasts the renowned French composer Claude Debussy's compositions for flute entitled "Syrinx" with the modern Japanese composer Ryo Noda's compositions for saxophone entitled "Improvisation I", " Improvisation II" and "Improvisation III". The paper examines the similarities and differences between these composers and their respective works in terms of style, technique and instrumentation. The paper shows how the works of both composer reflect their mutual regard for traditional influences but higher regard for innovative creativity. A large amount of source material is appended to the paper.
From the Paper "In discussing Claude Debussy's work, it is important to note the shift in music compositional style that he instigated in the late Nineteenth Century and early Twentieth with Impressionism. Syrinx, which was written in 1913 for an uncompleted Gabriel Mouray play entitled Psyche, embodies such traits and demonstrates why Debussy was considered "a great harmonic innovator of the Twentieth Century." His new compositional style featured "fresh, new tonal perspectives without abandoning tonality itself." (Moss)"
Abstract Jazz is described as a form of musical improvisation that combines both organization and spontaneity. It is the spontaneous improvisation that separates it from traditional Western music, which is written down in notation as carefully as possible, in order to make sure that it is performed as closely to the composer's intentions as possible. This paper provides a definition of jazz before exploring the origins of this musical genre. The paper examines what makes certain music be regarded as jazz and explores the influence of jazz on other music.
Paper Outline:
Introduction
The Origins of Jazz
What Makes it Jazz?
The Influence of Jazz
Conclusion
Bibliography
From the Paper "Even though jazz is a rich mixture of melody, rhythm, harmony and inventive improvisation based on those basics, it has always not been treated with respect by music historians and other experts. For instance, in his book An Illustrated History of Music, the author does not even give jazz a mention. Marc Pincherle seems to have a bias toward traditional Western European styles of music, but Gerard (p. 12) states, "Music does not have to be totally predictable to be beautiful." Jazz may suffer because it is often not written down in notation, and because much of its history is recorded informally."
Tags: Jelly, Morton, blues, AABA, lead, sheet, tempo
Abstract This paper introduces the beginning of the Beat Generation and how it was influenced by the author Jack Kerouac as shown in his story: "The Good Blonde".
From the paper:
"Expression of this need for individualism despite a conformity in society, expressed itself in the Beats with free association and jazz inspired language and improvisational literary techniques, in experimentation in drugs, sex, anything that would break free of the good soldier mold."
Tags: Ginsburg, free-, style, norm, jazz, narcotics, hitchhiking, free, love
Abstract This paper sheds light on important aspects of Charlie Parker's life and times. It introduces a jazz musician who completely transformed this type of music through his talent, originality and improvisation skills. The paper discusses the changes that he brought into jazz styles and also focuses on Parker's influence on society and economy of his days. For this reason, many magazine articles and few books were consulted and research in this paper is appropriately supported by expert views and comments.
From the Paper "Charlie Parker's name is synonymous with innovation in jazz music. This is because in his short life of 34 years, the man was able to transform the world of music by introducing new and better tunes and jazz styles that made him immortal. Charlie Parker was born in 1920 in Kansas City but later moved to New York where he found a more intelligent audience that appreciated his alto sax tunes and helped him in discovering new techniques including the famous Bebop. Bebop was probably the greatest achievement of this man and this jazz style became extremely popularly in that era. It is important to understand that this man was not simply a musician but was a legend in himself because not only did he transform Jazz, he also created awareness regarding this type of music. It was because of him that Americans from every social class started taking an interest in this kind of music and thus the man left an indelible mark on the United States and not particularly its one field."
From the Paper "Wassily Kandinsky's Untitled Improvisation III (1914), a work owned by the Los Angeles County Museum of Art, was done in oil paint on cardboard. The painting measures approximately 25 by 20 inches. This work is one of a series Kandinsky painted in the first years of his experiments with purely non-objective art. Kandinsky theorized about abstract painting and Untitled Improvisation III can be studied with reference to his theories about color and spirituality in art.
Kandinsky was born in Russia in 1866. He became a lawyer and it was not until he was thirty years old that he gave up a career as a legal scholar to become a painter. In 1896 he moved to Munich to take up his new career and, with trips to Paris, became familiar with the current trends in painting. In 1907 he exhibited with the early German expressionist group Die Brucke (The Bridge). Sometime between 1910 and 1912 he painted his first non-objective work--a watercolor."
Abstract This paper discusses the first live release, recorded in March, 1999, of Medeski, Martin, and Wood (MMW), "Tonic", a small New York City club, on the lower east side of Manhattan popular with many well-known artists. The author states the post-modern jazz album used a single pair of strategic microphones. The paper reviews each track and describes how various elements such as walking bass, improvisation and syncopation.
From the Paper "Bud Powell composed track 6, Buster Rides Again. The song is begun by a lightly played piano, which develops the theme. The rhythm section joins in followed by a bass solo accompanied by piano, mriba, and a cow bell. There is a return to the melody then a piano solo accompanied by a walking bass and drums emphasizing cymbal sounds. Bass and piano then go into a call and response until the drums begin a lone solo. Melody is restated and another piano solo initiates the end of the piece."
Abstract This a jazz review which discusses the new "Headhunter" album, "Return of the Headhunters", after almost twenty years since they became a group. It analyzes the elements of jazz that are used within the album, including approaches to improvisation, syncopation and bass runs.
From the Paper "The Headhunters album, Return of the Headhunters, is under Hancock Records of the pianist Herbie Hancock, he is also one of the executive producers. This is one of Hancock's old bands; he doesn?t make the list of band member but guests on some of the songs. The Headhunters were last together at the end of the 1970?s. This album was released in 1998 and continues with the group's tradition of jazz fusion and funk.
"Track one is Funk Hunter and includes Herbie Hancock and Patrice Rushen on keyboards, Darrell Smith on keyboard programming, and JK on guitar. The song is melodic with elements of cool jazz. Drums introduce and then continue with constant syncopated snare drum hits. The sax takes a theme and fades in and out between bass and drum patterns. Bass uses repeated runs. This first verse is replayed, with a stompy, prowling feeling. The keyboard goes into a syncopated developmental solo with percussion, bass, and snare accompaniment. The bass and keyboards go into a call and response routine. The theme is restated and a cow bell is heard between snare hits. Sax and keyboard then go into call and response play. The sax leaves and with the keyboard featured there is a restatement of the theme and a fade out."
From the Paper "Improvisation was an important element in Dixieland jazz, a style of music which originated in New Orleans during the late 19th century. Many of the Dixieland musicians turned to improvisation because they could not read sheet music. However, there were also various cultural influences on the development of improvisation in New Orleans jazz. For example, the roots of Dixieland's improvisatory style can be found in the work songs of the black American slaves. In turn, the music of the black slaves was based on the tribal music of West Africa. To a lesser extent, European music and ragtime also had an impact on the New Orleans style of improvisation.
One of the most notable features of Dixieland jazz was its use of collective improvisation (Brooks, 1984, p. 89). In this approach to improvisation, all of the members of the jazz group..."
From the Paper "I pledge you, I pledge myself, to a new deal for the American people.
Franklin Delano Roosevelt, Acceptance Speech to the Democratic Party Presidential Nomination, 1932 (Schlesinger, 1957 , p. 214). With those words, unintended to be the title of his domestic policy, Franklin Delano Roosevelt set in motion the expectations and machinery of a series of government programs and reforms that are debated to this day. Roosevelt's "New Deal" stands as one of the most controversial set of policies ever promulgated upon the American system of government. Liberal politicians honor the New Deal. Conservative politicians abhor it. The New Deal is given blame for the "imperial presidency" - and credit for..."
Discusses the business of comedy; specifically, comedy clubs. Focuses on three Los Angeles clubs: The Comedy Store, the Laugh Factory and the Improvisation.
3,375 words (approx. 13.5 pages), 6 sources, 1995, $ 119.95
From the Paper "INTRODUCTION
Comedy has become a major business over the last 20 years or so, and the proliferation of comedy clubs in major cities is a testament to this fact. Three of the seminal and more successful comedy clubs are found in Los Angeles--The Comedy Store on Sunset Boulevard, the Laugh Factory on the same street, and the Improvisation on Melrose Avenue. These clubs are known for featuring new talent, as places where established talent tests material, and as magnets for celebrities in the audience as well as on stage. Each has also been well-served by their respective owners' dedication to promotion. The venues have somewhat different approaches to the presentation of comedy acts and target somewhat different audiences. They have also been buffeted recently by a downturn in the comedy business, though they have ..."
Abstract This paper explains that despite occasional disagreements, Franklin D. Roosevelt and Winston Churchill never lost sight of their ultimate goal of defeating the Axis powers. It shows how the two leaders were very different men. The paper presents many examples such as Churchill and Roosevelt's personalities: Churchill's approach to life's challenges was one of confrontation, order and hierarchy; wherein, Roosevelt's was one of evasion, competition and improvisation. The author believes that the most important difference between Churchill and Roosevelt during the war was their vision of the future of the colonial territories: Churchill retained an imperialist vision for the future of the empire and opposed independence for its members; Roosevelt saw the demise of European colonialism as inevitable.
From the Paper "The friendship that developed between Churchill and Roosevelt was not without its difficulties, and it is important not to lose site of the fact that the primary responsibility of both men was to look after national interests. This inevitably led to tensions, which at times became quite pronounced. Serious differences arose, for example, over the question of when and where to open the second front in Europe, and a host of other issues, particularly with respect to economic matters. Furthermore, as the years passed and victory in Europe appeared more and more certain, Roosevelt began to cultivate a bilateral relationship with Stalin that wounded Churchill's pride and signaled the emergence of a bipolar postwar world, dominated not by the British Empire, but rather by the two new Super-Powers."
