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Evolution of jazz music
Evolution of jazz music
History and influence of jazz
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One of the greatest tragedies in the 20th century can be seen in the debasing of the Jazz genre as a unworthy equal to it’s predecessor, European Classical music. This can be seen in various statements about Jazz, such as Boris Gibalin commit, “The “Jazz Mania” has taken on the character of a lingering illness and must be cured by means of forceful intervention.”1 This conflict can be traced through out the history of Jazz, as Classical composers have relatively disregarded this new type of music. Before Duke Ellington’s Cotton Club performances, Jazz play on the radio was delegated for late night audience only. This sub-culture treatment has led many critics to disregard the Jazz movement as a dance craze, or unsuccessful recreations of Classical pieces. This slandering of Jazz has not only created a false image of the music, but it has also lead to a full disconnection between the two genres. It is for this reason that I propose in my paper to show the relationship between these two musical categories. My hopes in demonstrating these similarities is to disassemble the schism of ignorance built between the two, and place both Jazz and Classical music on equal footing.
Critics of Jazz have always perpetuated this schism by utilizing the reasoning behind Jazz, that of it being a free form interpretation, to question the legitimacy of calling a Jazz leader a composer. For how can one be styled as a proper composer and still remain true to the Traditional Jazz concepts? The classic composer has at their disposal highly skilled musicians who are trained to work within professional bodies, such as a symphony orchestra or string quartet, and who then relies on the efficiency of these professionally trained bodies to interpret his scores as he sees fit. On the surface this appears to run contradictory to the Jazz composer whom, “Has to write for specific combinations which do not exist until he brings them into being, and to rely on highly individual executants whose personal style must be blended together to give expression to his own ideas without…losing their individuality”.2 Yet to interpret this blending of highly individualistic sounds as proof of a schism between this and the rigidly structured Classical composer is a false impression. This fallacy can be attributed to overemphasizing the sporadic and improvisational aspects of Jazz and refusi...
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...usical category. From Bach to Mozart, Beethoven and even Tchaikovsyky employed it as a stylistic feature in their pieces.
In conclusion, one can see the shared characteristics of the two musical styles. Yet I find myself pressing again the reasoning for this paper, for I must submit that I am in no way declaring that Classical music equates Jazz. The two musical categories are different in numerous ways, but one must wonder does this difference justify the mistreatment of Jazz. Throughout history great innovations have been created not thought the passive means, but through the torrent fires of dissent. Classical music has born the scars of numerous dissenting musicians, all of who now stands as pinnacles of their craft. Yet now we have arrived at a time in which this reverent originality has become cause for scorn, and it is this debasement that I am addressing. By showing the similarities of the two genres, I had hoped in quenching this distaste for Jazz. This musical elitism that is being perpetuated can lead only to a disastrous finale for all who engage in it. Duke Ellington has it right when he stated, “There are only two types of music, good music and the rest.”18
By the end of World War I, Black Americans were facing their lowest point in history since slavery. Most of the blacks migrated to the northern states such as New York and Chicago. It was in New York where the “Harlem Renaissance” was born. This movement with jazz was used to rid of the restraints held against African Americans. One of the main reasons that jazz was so popular was that it allowed the performer to create the rhythm. With This in Mind performers realized that there could no...
Music is magical: it soothes you when you are upset and cheers you up when you are down. To me, it is a communication with souls. I listen to different genres of music. When appreciating each form of music, with its unique rhythm and melody, I expect to differentiate each other by the feelings and emotions that it brings to me. However, I would definitely never call myself “a fan of jazz” until I witnessed Cécile McLorin Salvant’s performance last Friday at Mondavi Center. Through the interpretations and illustrations from Cécile’s performance, I realized that the cultural significance and individual identity are the building blocks of jazz music that create its unique musical features and support its development.
The word “jazz” is significant to America, and it has many meanings. Jazz could simply be defined as a genre or style of music that originated in America, but it can also be described as a movement which “bounced into the world somewhere about the year 1911…” . This is important because jazz is constantly changing, evolving, adapting, and improvising. By analyzing the creators, critics, and consumers of jazz in the context of cultural, political, and economic issue, I will illustrate the movement from the 1930’s swing era to the birth of bebop and modern jazz.
Jazz was a unique form of music, there had never been anything like it before. It was rebellious, rhythmic, and it broke the rules- musical and social. It started a musical revolution, “With its offbeat rhythms and strange melodies, jazz was blamed for everything from drunkenness and deafness to in increase in unwed mothers.” Jazz was seen as immoral and worried the older generation that their kids would lose interest in classical music. It was also seen as against society because it came about from the African- American culture, but despite all of that, jazz led to a new era of music that still prevails today.
Jazz is one of the only uniquely American forms of music. Its roots date back all the way to the Atlantic slave trade. Jazz is still alive and well today. This paper will walk you through Jazz’s rich history. We’ll start with the basics of African music and its influences. Then we will take you through the decades leading to modern Jazz.
Kant starts by explaining the three divisions of philosophy which are: physics, ethics, and logic. He clarifies that physics and ethics are a posteriori while logic is, a priori, but there is a third variable that interacts both which is also the foundation of morals. This is the categorical imperative or also known as the synthetic a priori. The categorical imperative or the moral law is the reason of individuals’ actions. Kant goes on to say “I should never except in such a way that I can also will that my maxim should become a universal law” (Immanuel Kant, Page14 (line 407-408)). This indicates that an individual should not do anything that is not their own laws or rules that cannot become universal to all individuals. Throughout the Grounding for the Metaphysics of Morals, Kant defines what categorical imperative is, but also its four distinct articulations.
Jazz music prospered in the 1940’s and 1950’s. Jazz was created by African Americans to represent pain and suffering and also represented the adversity that racial tension brought. (Scholastic) African American performers like Dizzy Gillespie and Charlie “Bird” Parker came to be recognized for their ability to overcome “race relati...
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences that give rise to the different racial identities. As music embodies the physical differences of human, racial differences are not only confined to the differences in physical appearances, but also the differences in many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which different racial identities are voiced and celebrated individually, it establishes the common ground and glues the differences
Jazz culture to be exact, is the topic at hand. Jazz culture expands throughout many genres and is expressed in many ways. The many genres of jazz are Big Band, jazz funk, modern jazz, smooth jazz, Latin jazz, and jazz fusion. Each of these comes with its own unique sound and origin. Latin jazz, for example, employs rhythms from both African and Hispanic backgrounds. The sound is particularly up tempo with divided eight beat patterns. Jazz artists who have portrayed these qualities of jazz to the world are at the very core of its culture. Many people who are in places of power in this society or are held in some form of esteem have had some exposure to the arts, whether it is classical or jazz. This is due to a desire to be culturally diverse which is a quality held in high esteem in regards to a more worldly point-of-view. There are many aspects of Jazz music that could be approached, but there is one point in particular that must be expressed in detail. The influence on the genre ...
Jazz is referred as “America’s classical music,” and is one of North America’s and most celebrated genres. The history of Jazz can be traced back to the early era of the 20th century of the U.S. “A History of Jazz” presents From Ragtime and Blues to Big Band and Bebop, jazz has been a part of a proud African American tradition for over 100 years. A strong rhythmic under-structure, blue notes, solos, “call-and response” patterns, and
The categorical imperative is an idea used to redefine ideas of morality (Kant 30). Morality is a priori; it is what we ought to do or ought not to do regarding an action (Hromas). "We know killing is wrong so we ought not to do it; we know this without experience" (Hromas). Morality is when everyone follows moral actions in agreement with the moral law and an action is not performed with a desire to feel a certain way (Kant’s Ethics). Immorality is when everyone follows the law except for one person (Hromas). Kant provides the example of a shopkeeper. The shopkeeper is to keep a fixed price for everyone so that the inexperienced shoppers do not get taken advantage of, such as a child (Kant 13). However, this action was done by the shopkeeper "for a self-interested purpose" (Kant 13). If the shop keeper did not keep a fixed price for everyone then word would spread about his not being fair to all customers and therefore no one will go into his store and he will go out of business. Another example is a street vendor in New York City. I am given a hotdog by a street vendor and am told it cost three dollars, but I only have one dollar and the vendor still sells me the hotdog for one dollar. A woman behind me asks for a hotdog and the vendor charges her three dollars. This vendor is not being fair to all of his customers because the woman and I both bought the same item but paid different amounts. I will come back to this street vendor but I am sure the woman will not. The vendor sold me the hotdog for one dollar because he wanted to receive some kind of payment for the food already in my hand and thus it was in his best interest to receive less
In his article, Bruce Johnson discusses how the production and commodification of jazz has changed to accommodate modernist culture. A crucial element to jazz is the use of improvisation. Johnson explains that it is difficult to embody jazz in a score because jazz is produced within the performer itself. “High Modernists” have changed and “deformed” jazz in order to conform it to their ideals. The author does a good job discussing how jazz has become deformed and why it has become altered as a result of making it a commodity.
Now a days, many believe that jazz is not that important of music genre, but with our history, jazz plays a big role. “Jazz does not belong to one race or culture, but it is a gift that America has given to the world.”, quoted by Ahmad Alaadeen. Jazz in the 1920’s opened the eyes of whites and invited them into African American culture; it evolved Americans to where we are today since it brought a change to the music scene, an acceptance of African Americans, and a change of lifestyles.
Toni Morrison’s Jazz is an eclectic reading based on elements of African American culture that produce, surround, and are an integral part of literary text. As we know, African American culture is distinguishable from other American cultures by its emphasis on music. This attention to music has produced two original forms, blues and jazz, and has developed distinctive traditions of others like gospel. Jazz is based mainly on one of these forms, namely –as the title infer- on jazz. This form pervades the whole book and provides not only subject and theme but also literary technique for the novel. Consequently, Jazz is not only the novel about the jazz era but also a novel that develops jazz “strategies” and creates a “jazz” of its own.
Morality has been a subject of many philosophical discussions that has prompted varied responses from different philosophers. One of the most famous approaches to morality is that of Immanuel Kant in his writing Groundwork of Metaphysics of Morals. Kant in this work argues that the reason for doing a particular action or the drive to do good things is a fundamental basis of defining moral quality in a person. To him, an action could be considered morally right only if the motivation behind doing that action was out of ‘goodwill’. When he defines these moral rules, he characterizes them in the form of imperatives – the hypothetical imperative and categorical imperative. While hypothetical imperatives deal with motivations and actions that lead to a particular end, categorical imperatives are a product of rational behavior in human beings. Kant considers such categorical imperatives to be the moral basis for life.