PPT-“The Bebop Era”

MUH 271 Bebop a most inadequate word that throws up its hands in clownish selfdeprecation before all the complexity of sound and rhythm and selfassertive passion which it pretends to name Ralph Ellison. brPage 1br Piano Cowboy Bebop Space Lion orgel version Yoko Kanno Transcribed by JillJenn Vie At a slow pace 728 6 728 6 14 728 20 6 728 6 27 2 6 2 6 The B ebop Drone is super high tec h leisure quadricopter with features of a professional one Equi ed with a 14 mega pixels fish eye camera the Parrot Bebop Drone takes video and pictures of the world in 18 field with remar able ima ge quality Endo Knock on the door Smith Come in Mr Clapper enters Clapper Mrs Smith 57526YH57347FRPH about WKH57347MRE57361573477KH57347QDPH57526V57347ODSSHU57361573471RUPDQ Clapper The pair shake hands remainin g standing Smith Eying him up pensively ODSSHU573475 Something New. The Late 1940s. Jazz Musicians were tired of playing something that people would just dance too.. They wanted to create something that would be listened to seriously!. Differences from Dixieland. Saint Xavier University Jazz Guitar Workshop Day. November 22, 2014. Dr. Shawn Salmon, Director of Jazz Studies. Early Guitar in Jazz. Guitar was not used in jazz band as much as the banjo due to the low volume of the acoustic guitar. “The Nation Prospers”. Baby Boom. It is a significant increase in the number of babies born . It took place in the years following World War II. As people were better off after the war, more got married and started families. Cool and Hard Bop. The Term “Cool". Apparently originated by Lester . Young. Refers to a number of different (albeit . related) states.. "a complex system of coping mechanisms, a technique for black survival in America,". The Bebop J azz by Satyajit Roychaudhury T he bebop style of jazz is a pivotal invention in twentieth - century American popular music - a n outgrowth of the rhythmic and harmonic experiments of Jazz, Big . Band, Swing, & . R’n’B. Jazz. JAZZ. :. This style of a music, as a recognized genre, occurred outside of the culture from where it originated.. “One of America’s original art forms”. MUH 271. Jam Sessions. Jazz. was always a commercial/entertainment music. At least until the 40s, jazz musicians did not think. of themselves as “artists”. early competitions:. Competition between bands in New Orleans. The Term "Cool". Apparently originated by Lester . Young. Refers to a number of different (albeit . related) states.. "a complex system of coping mechanisms, a technique for black survival in America,". King of Ragtime. Born in Texas – moved to St. Louis. Maple Leaf Rag. The Entertainer. A Guest of Honor: Lost first opera. Opera: . Treemonisha. (not staged until 70’s). Died . of syphilis. Maple Leaf Rag. THE LOS ANGELES JAZZ INSTITUTEGroovin High-An All-Star Celebration of the Bebop Erataking place May 24-27 2001 at The Crowne Plaza Hotel Groovin High promises to be one of the most outstanding jazzgat The richest place in America\'s musical landscape is that fertile ground occupied by jazz. Scott DeVeaux takes a central chapter in the history of jazz—the birth of bebop—and shows how our contemporary ideas of this uniquely American art form flow from that pivotal moment. At the same time, he provides an extraordinary view of the United States in the decades just prior to the civil rights movement. DeVeaux begins with an examination of the Swing Era, focusing particularly on the position of African American musicians. He highlights the role played by tenor saxophonist Coleman Hawkins, a progressive committed to a vision in which black jazz musicians would find a place in the world commensurate with their skills. He then looks at the young musicians of the early 1940s, including Charlie Parker, Dizzy Gillespie, and Thelonious Monk, and links issues within the jazz world to other developments on the American scene, including the turmoil during World War II and the pervasive racism of the period. Throughout, DeVeaux places musicians within the context of their professional world, paying close attention to the challenges of making a living as well as of making good music. He shows that bebop was simultaneously an artistic movement, an ideological statement, and a commercial phenomenon. In drawing from the rich oral histories that a living tradition provides, DeVeaux\'s book resonates with the narratives of individual lives. While The Birth of Bebop is a study in American cultural history and a critical musical inquiry, it is also a fitting homage to bebop and to those who made it possible.