| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "DEVELOPMENT JAZZ BLUES": |
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The Development of Jazz and Blues, 2007.
This paper discusses the development of jazz and the blues in America.
985 words (approx. 3.9 pages), 4 sources, MLA, $ 34.95
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Abstract
In this paper, the writer introduces, discusses, and analyzes the development of jazz and the blues. The roots of these two forms of American music are traced. The author also explores the influence of African-American slave music on these forms of music. Several notable jazz and blues artists are discussed. The author concludes by stating jazz and blues are popular forms of music throughout the world.
From the Paper
"Some of the more recognizable blues artists include Robert Johnson, Billie Holiday, Blind Lemon Jefferson, Charlie Patton, Son House, T-Model Ford, Howlin' Wolf, BB King, Muddy Waters, and Leadbelly (Gioia). Many jazz musicians have influenced the music and become famous in their own right, too. Early musicians include Scott Joplin, Duke Ellington, Louis Armstrong, Ella Fitzgerald, and many others. Jazz continues to evolve today, with "smooth jazz" gaining in popularity, and modern influential artists include Wynton Marsalis and Kenny G. Advocates included many black and white writers of the times, such as Richard Wright and Langston Hughes, who recognized the importance of the music and helped spread interest about it around the world."
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Jazz and the Development of Black Culture, 2002.
Examines the emergence and development of jazz and black culture during Reconstruction and the early 20th century.
4,200 words (approx. 16.8 pages), 12 sources, APA, $ 112.95
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Abstract
This essay explores the development of black society and culture in the United States as a result of the Great Migration, Harlem Renaissance, liberation and anti-black sentiment in the South. The paper also deals with the different styles of jazz and the emergence of each these styles.
From the Paper
"Segregation is a marvelous thing. Not only does it isolate one group of people from normal society, it slaps them with inferior rights and social standing. Ever since the 1500s, when Europeans colonized the New World using African-American slaves, blacks have always been viewed as lesser subjects who were intellectually and emotionally inferior to whites and therefore whites subjected them to harsh second-class treatment1. Life progressed for a few hundred years and, even after the Civil War, blacks were still in the same second-class society that they started in since the beginning on slavery. Only now, there were 4.5 million more of them and they resided in black communities located in large Northern cities instead of smaller Southern plantations2. These black communities, separated from white communities, became breeding grounds for cultural development and by the late 19th century, significant tides of black artists, musicians, and writers were present in them. By the 20th century, African-American culture was an integral part of American society, ubiquitous in many forms in Eastern urban cities and, after World War I, rural Southern and Western locations.3 Without segregation, however, and under ideal circumstances, blacks would have become integrated and unnoticeable with white culture (just like how America?s youth, no matter what race, is so culturally indistinguishable). However, since blacks were in fact segregated from whites for say 300 something years, they were able to develop their own culture, with many aspects almost uninfluenced by white culture."
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Blue Cross Blue Shield, 2004.
An analysis of the marketing techniques of the insurance agency, Blue Cross Blue Shield of Missouri.
1,785 words (approx. 7.1 pages), 5 sources, MLA, $ 57.95
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Abstract
This paper discusses the insurance company Blue Cross Blue Shield of Missouri. The paper describes the negative public perception of this company due to incomplete information provided on the company's website. The paper claims that the insurance company does not make its members aware of the benefits due to them. Suggestions are presented to employ marketing strategies that will improve Blue Cross Blue Shield's public image.
From the Paper
"In the past, the marketing of Blue Cross Blue Shield of Missouri has faced severe criticism. A Market Conduct Examination Report by Health Care Financing Administration notes that Blue Cross Blue Shield of Missouri "utilizes an overall marketing, policy issuance and application process hostile to Missouri residents attempting to exercise their rights as provided for in the Health Insurance Portability and Accountability Act of 1996" (Health Care Financing Administration). Specific criticisms of the marketing policies of Blue Cross Blue Shield of Missouri not that the company "Withholds access to information regarding guaranteed available policies from consumers attempting to access information through (Blue Cross Blue Shield of Missouri)'s marketing website" (Health Care Financing Administration). Specifically, the organization charges that BCBSMo does not inform consumers of the "availability of BasicBlue coverage" on its website."
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Rhythm and Blues, 2005.
An overview of the history of jazz and its connection to blues music.
760 words (approx. 3.0 pages), 2 sources, MLA, $ 27.95
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Abstract
This paper looks at how the 1920s was a huge decade for "jazz" and how due to the closing of the seaport in New Orleans, musicians were forced to travel up the Mississippi to find work. It also discusses the four major types of jazz: boogie-woogie, Chicago jazz, urban blues, and society dance bands and explains the difference between jazz chords and blues chords.
From the Paper
"To clarify the chord structure between Jazz chords and blues chords, you must first understand that a chord is built on the first, third, and the fifth with an added seventh. A blues song is always centered on three chords, the first chord, the fourth chord, and the fifth chord example, in the key of C the one chord is CEG based on the C scale. The fourth chord is FAC based on the F scale. The five chord is GBD based on the G scale with the added seventh making the chord GBDF. Blues is much more simple because a blues song consist of only three chords. "
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Jazz CD: "Kind of Blue" by Miles Davis, 2005.
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, $ 32.95
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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."
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New Orleans Jazz, 2005.
A discussion of the role of New Orleans in the development of jazz.
1,840 words (approx. 7.4 pages), 7 sources, APA, $ 63.95
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Abstract
This paper studies how New Orleans played a crucial role in the development of jazz. The paper draws parallels between New Orleans, as America's first multicultural city, and jazz, as the first multicultural form of music. The paper also examines African Americans' formative role in the development of jazz, particularly those from New Orleans' Storyville district.
From the Paper
"Many years ago Clay Smith wrote in "Etude Magazine" that if the truth were known about the origin of jazz, it would never be mentioned in polite society..."
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Jazz in New Orleans, 2004.
A look at New Orleans as a focal point in the development of jazz.
2,197 words (approx. 8.8 pages), 3 sources, MLA, $ 68.95
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Abstract
This paper examines how New Orleans is known as a melting pot of culture and music and how it has played a major role in the early development of jazz. It looks at how it was full of opportunity and rich with the fine arts of music and dance, while offering a breeding ground for innovation. The paper explores how, in the back alley city streets, clubs and saloons, basements of homes and African-American dance halls, jazz was born. It focuses on the importance of New Orleans, which was home to Joe "King" Oliver and his leading student, Louis Armstrong.
From the Paper
"Congo Square, a modest corner of the French Quarter, is considered by many scholars to be the birthplace of jazz. It was in the Nineteenth Century in Congo Square in New Orleans that observers heard the beat of the bamboulas, the wail of the banzas and saw the multitude of African dances that had survived through the years. During these antebellum times, slaves would meet here on Sundays and play traditional African songs while women slowly swayed to the rhythms. Congo Square was a weekly refuge from the drudgeries of slave life. It was a place where music created a special freedom that didn't exist elsewhere. This square was used as a gathering place for the residents of New Orleans almost since the city began and located across Rampart Street on the backside of the French Quarter."
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"Sonny's Blues", 2002.
A literary analysis of "Sonny's Blues" by James Baldwin, which tells the story of black jazz musicians.
1,400 words (approx. 5.6 pages), 4 sources, $ 53.95
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Abstract
This is a response paper to James Baldwin's short story "Sonny's Blues," about Jazz musicians and the black community. It draws on literary criticism as well as extensively quoting the original text and portrays the act of smoking in the story as both a literary device and an integral part of the scenery, as well as an extension of the changes that occur in Sonny's character.
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?Sonny?s Blues?, 2002.
The important image of blues music in James Baldwin's short story "Sonny's Blues".
1,876 words (approx. 7.5 pages), 9 sources, MLA, $ 60.95
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Abstract
This paper introduces, discusses and analyzes "Sonny's Blues" by James Baldwin, a short story set in New York City's Harlem. Specifically, the the paper discusses the role the blues plays in the story. The paper shows that "Sonny?s Blues" is about being lost, and trying to be found, within the context of being a black man in this society; and of finding oneself as so many black men have, through the blues?both as music, and as storytelling.
From the Paper
"But if blacks recognize each other in the rarefied smoky atmosphere of the jazz clubs, black society at large often doesn?t even honor its own. It?s sometimes impossible to earn a living as a musician--something the narrator warned Sonny about after their mother died. The narrator doesn?t even know who Charlie Parker is?perhaps the greatest jazz musician of all time. If blacks themselves can?t recognize the geniuses among them, what chance does Sonny have? ?You?ll have to be patient with me. Now. Who?s this Parker character?? the narrator asks Sonny, who becomes sullen and turns his back. ?He?s just one of the greatest jazz musicians alive.? Sonny, too, will turn out to be a creative genius. For the black man, this means spontaneous improvisation: ?Baldwin?s bastardized characters must legitimize self through endless improvisation?[they] begin with memory, then bursts out into improvised song.? (Tsomondo, p. 197)"
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Revivals of Dixieland and The Blues, 2006.
A review of the history of two revivals in Jazz music - Dixieland and the Blues.
2,433 words (approx. 9.7 pages), 11 sources, MLA, $ 74.95
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Abstract
This essay explores the history of two different periods of Jazz: the Dixieland revival of the late 1930s and the Blues revival of the 1960s. It looks at the influential people, places and events for the two time periods. The essay also discusses the racial implications of these different periods as historically black music was "revived" by white audiences. It also explores the appropriate place of black music in white culture.
From the Paper
"Music brings us into a place where we can experience a society or time period as if we were actually there, in a way that no history book could ever describe with words. Music is a reflection of society. Jazz music has taken on many faces throughout American history, from early slave work songs deeply rooted in African tradition all the way to our modern-jazz sound we hear on the radio today. Jazz has morphed into all kinds of different sounds admired by diverse audiences. At times, certain brands of jazz already past their height of popularity experience a "revival" as a new audience sees something beautiful and different in them that they had never identified before. These revivals bring about a renewed look (or "listen") at the music, giving wider exposure to new audiences and conserving its history for future listeners. Both Dixieland and the Blues are two forms of jazz that experienced similar revivals: Dixieland's in the late '30's and the Blues' in the '60's. Previously overlooked by white Americans and Europeans during their original peak of popularity, these revivals exposed jazz to new audiences and gave more necessary credit to the established "greats." In the following pages we will explore how both the Dixieland and Blues revivals celebrated and preserved jazz music while also examining the implications of race as whites "revive" established black music."
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Blues and the Community, 2002.
This paper examines the impact of the blues on community development
in the Mississippi Delta.
2,614 words (approx. 10.5 pages), 5 sources, MLA, $ 78.95
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Abstract
This paper begins by discussing how Mississippi Delta was the birthplace of the Blues movement and introduces the first musicians of this form of music. It then discusses how the Blues movement developed into a form of community bonding and how it benefited the community. It mentions landmark institutions which developed from the Delta Blues. These include the Delta Blues Museum and the The Delta Blues Education Program, The Delta Blues Hall of Fame and The Mississippi Delta Blues Society.
From the Paper
"The Mississippi Delta is not a large area geographically, yet writer Robert Palmer argues that it has contributed more to American music than any other region (Palmer, 1993, p. 11). Famous Delta blues musicians include Robert Johnson, Charley Patton, B.B. King, Sonny Boy Williamson, Muddy Waters, Floyd Jones and Howlin' Wolf. And even though Delta natives such as Albert King and John Lee Hooker left for more promising opportunities elsewhere, hundreds of other artists stayed behind and kept the blues tradition alive at home where today it is played at weddings, house parties, fish fries, juke joints and festivals (Clarksdale, 1999)."
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"Sonny's Blues", 2007.
This paper discusses "Sonny's Blues" by James Baldwin.
2,100 words (approx. 8.4 pages), 6 sources, MLA, $ 65.95
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Abstract
The paper is of the opinion that a reader will always be touched by the characters, tone, theme, dialogue, irony and conflict in "Sonny's Blues". The paper discusses how, in "Sonny's Blues", the author conveys the juxtaposition of two brothers' divergent paths. The paper also notes the theme of music and of the blues played by jazz musicians and the overriding theme of black suffering. The paper looks at a range of critics and scholars' perspectives on this work.
From the Paper
"Sonny's Blues by the late celebrated author James Baldwin is a story that embraces a number of very strong themes, and it embraces them through the narrator and the narrator's point of view. The narrator becomes more than the storyteller; in fact he grows from being in denial about his race, to being brokenhearted and angry at the death of his daughter and the arrest / addiction of his younger brother. The narrator is caring, intelligent, well-educated, focused on his career, stubborn yet eventually flexible regarding his family, and sensitive to the darkness in his past and his present."
"This story touches on themes in a way that the reader is moved to an emotional connection. That was always Baldwin's goal as an author, beyond the myriad literary challenges which all authors confront."
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The Blues, 2002.
A review of three musical pieces: Sonny's Blues" by James Baldwin, "The Sorrow Songs" by W.E.B. Du Bois, and "Am I Blue" by Alice Walker.
1,403 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
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Abstract
The purpose of this paper is to discuss and analyze the three works "Sonny's Blues," by James Baldwin, "The Sorrow Songs," by W.E.B. Du Bois, and "Am I Blue," by Alice Walker. Specifically, it discusses the use of the blues in all three works, and how music influences each story. The writer argues that music, specifically the blues, plays an important and valuable role in supporting the characters and making the stories more believable and moving.
From the Paper
"Each author uses the blues in a different way, but the music plays an important part in each story, making them more readable, and the characters more sympathetic to the reader. The blues is a form of music that originated in black Harlem in New York City in the 1920s and 1930s. It has always been a kind of melancholy music that illustrates the unhappiness and unsettled lives of black Americans."
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The Black Roots of America's Blues, 2001.
This paper looks at the history of the "Blues" and its influence on the American music scene.
1,950 words (approx. 7.8 pages), 6 sources, MLA, $ 62.95
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Abstract
This paper is an in-depth examination of the Blues. It begins by taking a look at the Deep South roots of the original Blues during slavery and how it began to spread north to Harlem in the late 1900s. The birth of contemporary Blues in the 1940s is detailed and it looks at some of the musicians, such as Scott Joplin who began incorporating these rhythms into their music. The next area covered is the building of the Blues, and traces the growth of different genres from the original blues. According to this author, the legacy of the blues was set, when it reached the ears of Elvis Presley, which led to the birth of rock and roll.
From the Paper
"The music that was originally known as the blues developed from a variety of hereditary and regional musical influences and practices popular among the people of the southern portion of the United States. The roots of all varieties of blues music can be traced to the southern states, particularly those that comprise the area of the nation known as the Deep South. The music originating in the hills and backwoods of Mississippi, Tennessee and Kentucky, music that has become most commonly associated with "hillbilly" bands and rhythms, is in fact a variety of the blues genre that is often referred to as "country blues" (Pooley 86). The style and genre that is most commonly associated with the blues, however, is also commonly associated with the nation's African-American sector and stems from the "Delta blues", a form of the blues that originated among the slave populations of the antebellum south and developed alongside its country "cousin" (86). This distinct musical style and form developed from the West African rhythms and beats that were brought to America by African slaves imported during the early years of slavery, rhythms and beats that were kept alive and passed down from generation to generation by the traditional music and songs of southern slaves."
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Double Conscience in Blues Music, 2002.
A paper which examines the underlying meanings in African-American blues music.
1,627 words (approx. 6.5 pages), 4 sources, MLA, $ 53.95
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Abstract
Blues music has been considered an important and popular music genre in the history of American music. The paper discusses one of the most important and significant characteristics of blues music - the fact that it illustrates double conscience, wherein an underlying meaning can be found explicitly or implicitly in the song?s lyrics. Examples of themes are the social and personal experiences of the African-Americans in their lives as slaves of the white American society and as laborers in most Southern cotton plantations. The paper examines how the social and personal relevance of blues music to the black Americans is evident in many works of literature depicting black American slavery such as Frederick Douglass' , ?Narrative of the Life of Frederick Douglass, An American Slave.? The paper also analyzes three Blues songs to show how the theme of double conscience - ?Strange Fruit? by Billie Holiday, ?No Education? by Lightnin? Hopkins, and ?Black, Brown, and White? by Big Bill Broonzy.
From the Paper
"Meanwhile, ?Black, Brown, and White? by Big Bill Broonzy is a song that generally discusses certain issues about discrimination among people who have different physical colors: the Blacks, Whites, and Browns (or the mulattos, as they are commonly called). Broonzy?s song utilizes colors as the primary aspect that distinguishes the privileges that an individual should have. All throughout the song, the line, ?? if you is white/ You?s alright/ If you?s brown/ Stick around/ But if you?s black/ Hmm, hmm, brother/ Get back, get back, get back? is repeated after every stanza, to further reinforce the fact that among the physical differences of people in the world, the Blacks are considered the most unfortunate of all, denied the opportunity to obtain a good job, to receive a high salary, and to enjoy the simple leisure and joys of life. Once again, the song utilizes narrative description as a way to illustrate and extend the message of discrimination to black Americans because of physical appearance and the issue of injustice and unequal treatment among people of their race (African-American)".
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