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Difference between jazz music and popular music
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These outstanding live jazz performances are brought by the master of bebop and piano music Thelonious Monk. Monk opens with “Lulu’s Back in Town” in both performances and showcase some of the most popular of his songs; Blue Monk, ‘Round Midnight, Don’t Blame Me, and Epistrophy. Everybody gets a chance to shine on these songs. Every musician is allotted time specifically to perform multiple solo acts, often improvising on the initial theme of the song. Dissonance plays a major role in the performance, especially from Monk on the piano; enough dissonance to make all of the classical composer roll in their graves by a wide margin.
As a performer, Monk definitely kept things more interesting by getting up and moving around, rather than just sitting
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I think as we move further into popular music, more of this incredible improvisation is going to emerge in music. Unfortunately, it is more common to see the act of coming up with melodies on the spot in person or at an actual concert, rather than on the radio or on an album. Although the performance was amazing, this particular style of music certainly fits a particular niche of both the performers and listeners. In a way, I think that listening to jazz like this takes some getting used to, especially if the listener is not used to listening to jazz in the first place. Jazz can be a very rewarding experience, but it also offers itself as something totally different from nearly all other music. Just getting used to listening to music in different scales, using minor chords, and hitting all sorts of dissonance offers plenty to work with, but Thelonious Monk’s style of playing has been just so different that it takes some practice and work to fully understand or appreciate what is going on in the music. Overall, I think this is just one of Monks many important contributions to the music of today, and a very great performance and
When discussing the history of Jazz, an important type of music is developed that changed the music industry. This music, bebop, helped to influence other types of music, and it also let us appreciate jazz more
...t deeper into the genre by telling of his losses following Katrina and his experience with musicians that are not so well known to the outsiders of the jazz community. Additionally, his aim was to make known that a façade exists about what many consider New Orleans jazz. He credits a “commercial culture” that has led to an “ignorance” about what the music represents (826). White also touched on what he considers to be a new jazz era in the aftermath of the hurricane.
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
"Jazz In America: The National Jazz Curriculum." Jazz in America. The Thelonious Monk Institute of Jazz. Web. 26 Feb. 2012. .
The Laidlaw Preforming Arts Center held a Wind Ensemble for the students of South Alabama. In this program there were a various Romantic style pieces which are listed on the program stapled to the back of this paper. Each piece of music shows a series of different styles, and the student band does so well with each. As the concert is coming to the end student conductors begin to conduct the pieces, and they all do a wonderful job.
Teachout, Terry. "John Hammond's jazz." Commentary 122.3 (2006): 55+. Academic OneFile. Web. 16 Nov. 2011.
The first piece presented in this concert was Robert Strauss’ Metamorphosen, Study for 23 Solo Strings a piece was composed during the last months of World War II, from August 1944 to March 1945, dedicated it to Paul Sacher. It was first performed in January 1946 with ten violins, five violas, five cellos, and three double basses, this was immolated in the performance by the Atlanta Symphony orchestra on April 13th that I attended. It is widely believed that Strauss wrote the work as a statement of mourning for Germany's destruction during the war, in particular as an elegy for devastating bombing of Munich during the second World War.
After reviewing this book I have a new understanding of jazz. This book explained the historical significance of jazz in our culture. Many people today do not truly understand the importance of jazz. The author explained the complexities, the styles, and the musicians of jazz, which were much larger than I knew about. I agree with the author on attending live performances over listening to recordings. Recordings are often short, premeditated events. When attending live performances you get the true feel of the musician and their music. Jazz has much more to it than other music styles, and now I appreciate it and have a greater understanding of jazz.
In 1955, he signed with Riverside and producer Orrin Keepnews persuaded him to record an album of Duke Ellington tunes and one of standards so his music would appear to be more accessible to the average jazz fan. In 1956 came the classic Brilliant Corners album, but it was the following year when the situation permanently changed. Monk was booked into the Five Spot for a long engagement and he used a quartet that featured tenor saxophonist John Coltrane. Finally, the critics and then the jazz public recognized Thelonious Monk's greatness during this important gig. The fact that he was unique was a disadvantage a few years earlier when all modern jazz pianists were expected to sound like Bud Powell, who was ironically a close friend. By 1957 the jazz public was looking for a new approach. Due to this, Monk was suddenly a celebrity and his status would not change for the remainder of his career. In 1958 his quartet featured the tenor of Johnny Griffin, in 1959 he appeared with an orchestra at Town
The jazz band I observed played a series of six different songs. Although all the songs were categorized as jazz, each song had its own special style and sound to it. The band consisted of three different players. Paul Meyers, the guitarist and composer, Andy Eulau, the bassist, and Dave Rataczak, on drums. The songs performed were entitled “Love for Sale” by Cole Porter, “Once I Loved” by Antonio Carlos Jobim, “Stars” by Paul Meyers, “Blues for Mel” also by Paul Meyers, “Last Night When We Were Young” by Harold Arlen, and “Samba Novo” by Luis Eca.
Jazz, which evolved from African American folk music, has developed and changed over the last century to become an art form in America. It places particular importance on inventive self interpretation. Rather than relying on a written piece, the artist improvises. Jazz has taken many forms over the past seventy years; there is almost always a single person who can be credited with the evolution of that sound. From Thelonius Monk, and his bebop, to Dizzy Gillespie’s big band, to Miles Davis’ cool jazz, or to John Coltrane’s free jazz; America’s music has been developed and refined countless times through individual experimentation and innovation. In my opinion the most noteworthy artist in the development of modern jazz is John Coltrane. In this paper, I will focus on the way in which Coltrane’s musical originality was related to the sounds of his predecessors and to the tribulations and tragedies of his life.
The Los Angeles Philharmonic Classical Music Concert Report. I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias, who was the conductor, and Martin Chalifour, who was the LA Phil commanding Principal Concertmaster and Bach violin player.
For this concert report I chose to go to a performance of student composers held at the Kimball Recital Hall. I chose this one because I wanted to see some of the talent that my peers have in the music realm, and also it was one of the only concerts I have been able to attend because I usually work at night. It was impressive to hear pieces composed by students. I cannot imagine creating something as complex as a musical composition, much less actually performing it, so this aspect of the concert was particularly awe-inspiring. There was a large attendance, and I think that much of the audience consisted of friends of the composers and/or performers. I went with three friends, who I convinced by telling it would be interesting to see student composers.
The final concert I attended was located in Dekelboum Concert Hall at the University of Maryland, the performers included Dr.Hinkle and the UMD Percussion Ensemble. This was their spring concert that highlighted all the work the ensemble had been collaborating on throughout the semester. The variety of repertoire focused on percussion but included a wide array of instruments from a triangle sextet, to a recreation of a John Cages Third Construction that included instruments such as congas, cowbells, snare drums, and many more. The only difference in these performances from previous ones I had attended was that none of them included vocals. The whole concert explored many different styles of percussion music within each of the seven pieces played.
Almost all styles of jazz consist of a combination of both predetermined and improvised elements, with the proportion of one to the other differing greatly. Mastering the skill of improvisation is in the ability to create an unplanned and spontaneous musical excerpt, with the level proficiency being dependent upon prior knowledge; a musician must have a set of learnt skills that enable their music making. The study of improvisation does, however, present obvious difficulties. Through the theoretical frameworks of cognitive science, many researchers and scholars have attempted to investigate the characteristics of a musicians’ knowledge and how they use it within the context of improvisation (Goldman, 2013; Nettl et al., 2013). To fully understand the practice of improvisation, we must establish the concepts behind improvisation, why we learn and are intrigued by improvisation, whether its practiced patterns or learned procedures, and whether or not changing from a familiar key to an unfamiliar key limits ones’ ability to