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Recommended: Analysis of songs
In the piece “St. Louis Blues,” sung by Bessie Smith with Louis Armstrong on the cornet, there is a notable distinction in the relationship that these two artists are displaying throughout the song. This piece, performed in 1925, incorporates a AABA chorus expressed through a very slow tempo. In the first 12-bars, Bessie conveys a melancholic, somber tone made to invoke memories of the past (“I hate to see the evening sun go down”) followed by Armstrong’s cornet response matching her tone. From the first chorus of the piece, there is a distinguished call-and-response succession heard between the two. His response to Bessie’s vocals can otherwise paint this picture showing off how much mournful and sadder Armstrong is than her. More of this
In “Blame It On the Blues” the author Angela Davis, argues against critics, like Samuel Charters and Paul Oliver, who say that the Blues lacks social commentary or political protest, by saying that the Blues was a subtle protest against gender and racial inequality. Davis uses various songs from Ma Rainey and Bessie Smith to prove this.
When it comes to jazz music, there is one name that everyone knows, whether they’ve never listened to jazz before or if they’ve listened to it their whole lives. That name is Louis Armstrong. Armstrong was one of the pioneers of jazz music, from his humble beginnings in one of New Orleans roughest districts, “the Battlefield”, to playing concerts for sold out crowds in Chicago and New York City, Louis left a massive impact on the way America listened to music for a long time. One of his premier tracks, “West End Blues”, left an impact on jazz music, which other musicians would try to emulate for years.
As Floyd is falling down on the stage, my heart is teared apart resonating with miserable life of African-American people in 1940s Pittsburgh. I have seen how people struggle with their assigned and unfair destiny and how the brutal reality smashes their dreams and humanity; I have seen that there were a group of people singing, dreaming, fighting, loving and dying in the red-brick house, which I might pass by everyday, all in this masterpiece of August Wilson. It is always difficult to reopen the grievous wound of the dark period during America history; however, the hurtfulness would be the most effective way forcing people to reflect the consequence of history.
“His relaxed phrasing was a major change from the staccato style of the early 20’s and helped to set the stage for the Swing Era” (“Life & Legacy”). And as such a prominent artist, and in particular, jazz artist, Armstrong did not only change the perception of jazz and swing, but the views on African Americans and their culture. Armstrong and the Harlem Renaissance reflected black history and culture, and it became popular, even in white communities and clubs. Jazz as a whole genre helped further society’s views through the universal language of music, where any ethnicity could partake in it. And the revolution of jazz was lead by the stylings of Louis Armstrong. The duration of the jazz and swing era, lasting decades past the 1920s, symbolized the civil rights movement directly through the lyrics, sounds, and artists
The blues emerged as a distinct African-American musical form in the early twentieth century. It typically employed a twelve-bar framework and three-lined stanzas; its roots are based in early African-American songs, such as field hollers and work songs, and generally have a melancholy mood. The blues can be divided into many sub-genres, including Classical, Country, and Urban. The purpose of this paper is to focus on the careers of two of Classical blues most influential and legendary singers: Ma Rainey and Bessie Smith.
This work is directly inspired by Der Blaue Reiter Almanach. Primarily a work of prose, it consisted of plays, essays by leading artists and musicians detailing works of the era, and commentary on art, music, theater, and related subjects. The Brooklyn Rider Almanac is conceptually a modern recreation of this idea in music, in that musicians are providing a commentary of artists or their work through their music. In a way, The Brooklyn Rider Almanac approaches the idea of cross-disciplinary art from an opposite prospective as the Onomatopoetic Project. Many of the works presented during the concert as a part of The Brooklyn Rider Almanac were inspired by looking an artistic muse or idea as an inspiration to create music that reflects the muse. Artists from classically trained composers to jazz and rock musicians contributed to this collection of works, and the results are both fascinating and inspiring. One great example of this is Necessary…Henry by Albanian Cellist Rubin Kodheli. Inspired by the jazz musician Henry Threadgill, this work incorporates the styles of rock musicians like Jimi Hendrix into and what could be perceived as the farthest possible medium from rock: the string quartet. Like Threadgill’s earlier use of non-jazz instrumentation and ideas in jazz works, Kodheli uses sounds from the rock genre like virtuosic guitar-like riffs, rock groves, and highly
...apital of the blues, and this poem has jazz themes and rhythms in its core. It relays those themes with the use of alliteration like “sing sin” (5) and “Jazz June” (7).
Poetry is one of the deepest emotional expressions in the written world. Vilém Flusser writes in his article, “poetry is usually understood as a language game whose strategy is to creatively enlarge the universe of languages. This universe becomes poetically broader and deeper through the manipulation of words and sentences, the modulation of linguistic functions, a game with the meanings of words and sentences, rhythmic and melodic modulation of phonemes” (71). Not only does poetry express emotion and feeling in a unique manner, but it in many cases also delves deeply into the author’s cultural background. Yusef Komunyakaa makes this clear in his poem “Untitled Blues.” Composed in 1984, this poem exemplifies the unique conditions of an African American male living in the city of New Orleans. “Untitled Blues” epitomizes the themes of injustice and music within
Louis Armstrong’s rendition of “(What Did I Do to Be So) Black and Blue” altered various components of the original tune as he incorporated several jazz techniques typical of the 1920’s and pulled the piece out of its original context of Broadway. Doing so greatly changed the piece as a whole and its meaning, to call attention to the necessity of civil rights for the black population. Armstrong’s life was not purely devoted to music. As a civil rights advocate for the black population in the U.S., he grabbed the attention of the government through his fame and helped to bring equal rights to his brethren. But at times, Armstrong allowed his actions to undermine the importance of African American civil rights, which created negative sentiments
Each person in this country has been raised as differently as the fingerprints we possess. While we may have little nothings in common with one another, our upbringing and heritage may be quite dissimilar. Hurston felt the deep, narcotic, almost primal tones of jazz music while seated next to a white man in The New World Cabaret (266). The primitive instinct and response to the music went wild in her body, whooping, yelling, and dancing the jungle way (268). When the last tone of the music descended, she “crept back to the veneer we call civilization… and found the white friend sitting motionless in his seat” (268). He did not feel the vibes of the music as she did, but Hurston was not fazed (268). We should not be concerned with the contrasts in eccentricities within our society. Each person has their own way of life and we should not let that impede upon our
Merod, J. (2011). Biography as Erasure: Louis Armstrong's Radical Light. Boundary 2, 38(3), 165-215. doi:10.1215/01903659-1430863
When discussing the poetry of the Harlem Renaissance, due to the strength of their relationship, one must look at Blues and Jazz. Many viewed this genre as a voice for the black communities and as “the New Negro poets expressed a deep pride in being Black” (Smith, 1983, p. 37) it is easy to see how this influenced their poetry. The main theme of Blues were the troubles of life and finding an escape, and this underlying dissatisfaction was incorporated into poetry as a response to many of the injustices present. For example, a clear example of this is Langston Hughes’ Homesick Blues which uses many of the key techniques from Blues songs, such as short lines to create urgency. The poem discusses the effect of prejudices and injustices on the black communities, especially when it comes to finding a home and an identity. There is a subtle, irregular rhyme scheme from words such as “sun… done” (Ramazani, 1994, pp. 152-3) which strengthens the influence. The dull, full rhymes create a sense of dissatisfaction and boredom, as if the speaker has given up on life. Hughes similarly uses many colloquialism and phonetics, which were common in Blues songs, such as “De Railroad Bridge/ a sad song in de air” (Ramazani, 1994, pp. 152-3), which furthers racial pride and identity, present in Blues and Harlem Renaissance poetry. However, perhaps the strongest example of how the Blues genre infl...
The Roots of Blues Music Blues is a very important type of music. Most music that you hear today has some form of blues in it. If it wasn't for the blues there wouldn't be any rock and roll, country, rap, pop, or jazz . Blues is also important for African American culture. African Americans were also the people who started the blues.
Wright, Craig M.. "Romantic Music: The Art Song." Listening to music. 7th ed. Boston, MA: Schirmer/Cengage Learning, 2014. 241. Print.
In order to understand how this poem represents Modernism, it is important to first understand just what Modernism was, and what exactly Modernists believe in. In order to understand this we must turn to Michael Borshuk’s essay Swinging The Vernacular: Jazz and African American Modernist Literature. According to Borshuk’s essay there are several major ideas that Modernists hold dear to them. The first of these ideas is there must be individuality in an artist’s work. Borshuk begins his article by describing the opening scene of Episode Three of Ken Burn’s documentary on the history of Jazz. He writes that “Burns takes us indoors, into a cabaret... We see African American patrons in a cabaret, smoking and drinking while a small jazz combo performs onstage. The drummer juggles his sticks while he keeps time, all maverick style and undaunted poise” (Borshuk 1). It is this drummer that Borshuk seems particularly interested in as the essa...