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The historical influence of jazz in america
Essays on jazz history
The historical influence of jazz in america
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1. What a Wonderful World by Louis Armstrong and Fleurette Africaine (Little Flower) by Duke Ellington. 2. Louis Armstrong and Duke Ellington are two of the greatest geniuses contributing to the development of jazz music. Both pieces symbolize the civil rights struggle that was part of the changing America, which Armstrong and Ellington lived in.
Jazz has shaped the world we know today. Jazz would have never been as popular without the help of the famous musicians: Jelly Roll Morton, Joe King Oliver, Sidney Bechet, Louis Armstrong, and Duke Ellington. These people helped spread the new genre through radio, railroads, and the records that they played. Where did this all start? The jazz age began in New Orleans where a certain King was born.
If you listen to jazz today, you will hear expanded musical harmonies, musicians playing more complex chords, and musical harmonies borrowed from many different genres of music, including pop. Many new, mainstream jazz as artists use the same techniques that artists from the early 1900’s used. Joseph “King” Oliver was the father to many of these techniques, which changed jazz and the way we hear it today. During the 1920’s, Joe “King” Oliver was the most progressive and influential artist in jazz because of his musical innovations that influenced other jazz artists to incorporate his methods,which sparked a new type of jazz. Jazz was first born in New Orleans and eventually moved to Chicago.
Jazz is most often thought to have been started in the 1920s as this explosive movement, but that is in fact not the case. Starting in the late nineteenth and early twentieth century many African American musicians have started to explore their taste in improvising, and where better to do that than New Orleans (Anderson). Before the 1920s these jazz musicians have already been going around sharing the unique sound, but up until then, jazz had remained majorly in New Orleans. Interestingly during this period, a common jazz band would consist of a cornet, a clarinet, a trombone, and a rhythm section when at this period of time the clarinet is not commonly associated with being a jazz instrument, it moved into being the saxophone rather. A big
Duke Ellington was a jazz author, conductor, and entertainer amid the Harlem Renaissance. During the developmental Cotton Club years, he explored different avenues regarding and built up the style that would rapidly bring him overall achievement. Ellington would be among the first to concentrate on melodic shape and sythesis in jazz. Ellington composed more than 2000 pieces in his lifetime. The Duke Ellington Orchestra was the "house" symphony for various years at the Cotton Club.
Some of them included Duke Ellington, Fletcher Henderson, and Jimmy Lunceford. Interestingly enough, because of the popularity of the music, African Americans were able to produce music and bring it into white society for them to listen to. These African American musicians also influenced many of the white musicians as well. White jazz musicians had taken inspiration from black jazz music for many years, but because of swing, they became even more deeply devoted to integrating this music to blacks and whites. Benny Goodman was one of these white musicians.
In this paper, I plan to examine the influences that Miles Davis had on jazz. Starting with the bebop era, when his career first began, to his final collaboration released following his death. While in school Davis had learned how to play the trumpet, and following graduation he attended Julliard in New York. However, he dropped out of Julliard in 1945 in order join one of bebop’s pioneers, Charlie Parker. It was
In the 1920s the African American was starting in earnest to place his or her stamp on American culture as a whole. It is in the era the seeds of revolution were planted that would bear fruit in the Civil Rights era of the mid 20th century. As the African Americans in New Orleans did make jazz the African Americans in New York and Chicago made Jazz what it is today and it helped many people see that what they live in is not what the have to stay
Ben Zimmer’s article entitled “Chunking” from the September 2010 issue of the New York Times, raises the question: should collocation education be used to teach English? The article focuses on the importance of using chunking as a method in teaching and developing others in the English language. Zimmer uses examples of his son to illustrate his point that children unknowingly pick up myriads of chunks throughout the span of their childhood; he explains, “As Blake learned these pleasantries… I wondered how much-or how little-his grasp of basic linguistic etiquette is grounded in the syntactical rules that structure how words are combined in English” (133). Other chunks such as “Won’t you come in?” or “Make yourself at home,” are noted as common
In a time of economic prosperity, a rise in the standard of living and rock and roll, also known as the “happy days”, the 1950s were a time looked back on with nostalgia. On the other hand, the 1950s were also met with many problems involving civil rights, the Cold War and McCarthyism. After the end of World War II, Americans came home to jobs available and a period of consensus. Consensus meaning there wasn’t much debate in politics. However tensions quickly rose throughout the nation when Joseph McCarthy made serious accusations about the State Department.
The Jazz Age was a term used by F. Scott Fitzgerald to refer to the 1920s, but it was also a cultural movement that took place in America during this decade. It was also known as “the Roaring Twenties”. This movement coincided with the end of the World War I and the introduction of the mainstream radio. The era ended with the crash of 1929, which caused the Great Depression.
In life, there are few things as organic as jazz music. With its raw sound and scrappy roots, one cannot help but feel life head-on whilst witnessing players produce such a sound right before their eyes. Its origins and arch are a product of the United States’ national culture and identity. Jazz exists not only as a deeply rooted form of art but as a cultural marker, particularly during its commercial peak in the first half of the 20th century. Its impact transcends borders, and it is one of the most beloved musical genres worldwide.
For African Americans, jazz music, has always had a political undercurrent. Slave songs spoke of the “Israelites” enslaved by the Egyptians, such as in Go Down Moses, symbolising their own yearning for freedom. However, it took time for the assertion of the political message to develop in a more discernible way. Jazz’s status as a form of entertainment had effectively subdued the message for many years, because of the ostracisation of those involved and because of the early popularity of the white swing bands. The majority of jazz musicians were not political activists, rarely explicitly political in their work, however, they often expressed their political ideals, sometimes more subtley other times more overtly through their music.
Jazz, in nature contains many characteristics of black people because its origin was from an African music. When we talk about jazz as a black music, the black here refer to African-American. African music is characterized by collective performance as a musical element. Several people played together and danced and enjoyed music. That's why rhythm play was more important than melody in Jazz eventually in Hancock’s music.
Introduction The goal of the Flamboyan Foundation is to improve education. Flamboyan is active in Puerto Rico and Washington, D.C. To improve education in Puerto Rico the foundation focuses on the quality of teachers, and in D.C the focus is on strengthening family engagement. The Flamboyan philosophy is that by improving teaching quality and family engagement, student academic achievement will increase (Flamboyan Foundation, 2016).
