Richard Wright’s criticism is right in the ballpark and I completely agree with it. In this book there was no central theme or idea, not one considerable humanistic thought or implication. This book did contain some good situations to learn from but nothing that persuades or changes the reader’s view, let alone life. A good fictional book has all of these qualities and more, something to make the reader doubt what they knew before, to make them question human thought and behavior and to make them learn or believe in a cause pointed out in that book. This is a fun dramatic story that lets the audience laugh and cry with Janie and her friends, but fails to deliver in the way of explaining the characters actions through the analysis of human nature.
History Of Jazz Mus 225 Professor Hebert A. Smith, M.A 1. Race Record played what value in the development of African American music. Prior to the emergence of rhythm & blues as a musical genre in the 1940s, "race music" and "race records" were terms used to categorize practically all types of African-American music. Race records were the first examples of popular music recorded by and marketed to black Americans. Reflecting the segregated status of American society and culture, race records were separate catalogs of African-American music.
Jazz is America’s classical music that evolved from the blending of African and European cultures. The artists are in an improvised jazz ensemble, and they are equal partners in the developing musical selections. Jazz music originated in New Orleans. In the late 1700s-1840 there was a common meeting place for most slaves called, Congo Square. Slaves were permitted to dance, sing, and play drums on Sundays.
Both of these poems were written around the same time. It was a political time of social unrest but, it was a pivotal time for this country. “We Real Cool” is truly musical almost comparable to jazz or even the beat generation’s poetry or prose. Jazz has an unmistakable syncopated beat or rather off the beat. I listen to this one musician, and he raps over live jazz in the studio.
Dixieland doesn’t generally use vocals, but is expressed through dynamics and rhythms. Two very famous Dixieland jazz players include trumpeters Louis Armstrong and King
As it started spreading around the world, Jazz made an amazing impression on national, regional and local cultures forming many distinctive styles of jazz. Some of the most famous styles/genres of jazz includes Afro-Cuban jazz, Ska jazz, Indo jazz, soul jazz, Latin jazz, jazz fusion, punk jazz and bebop. The style of Bebop jazz is characterized by its fast tempos, instrumental brilliance and improvisation that’s based on a combination of harmonic organization and melody. The bebop style of jazz began at the beginning of World War two and right after the end of the swing jazz era. The music of the swing era was popular from the 1930’s to around the beginning of World War two when most of the Jazz musicians went off to fight in the war.
When a couple of white composers introduced "ragtime" music, many black performers took it and adapted it to their out style After beginning in New York City , progressive, or cool, jazz developed primarily on the West Coast in the late 1940s and early 50s. Intense yet ironically relaxed tonal sonorities are the major characteristic of this jazz form, while the melodic line is less convoluted than in bop. Lester Young's style was fundamental to the music of the cool saxophonists Lee Konitz, Warne Marsh, and Stan Getz. Miles Davis played an important part in the early stages, and the influence of virtuoso pianist Lennie Tristano was all-pervasive. The music was accepted more gracefully by the public and critics than bop, and
Cultural Contact in the Cradle of Jazz: A Brief History............................................ Cultural Remnants Made Visible: The New Orleans Jazz Festival........................... The Mardi Gras Indians ............................................................................................. CHAPTER V. UNRAVELING MUSICAL AND CULTURAL ELEMENTS: ... Common Ground: African and Native American Musical Compatibility................. Unification in Sound: Vocables in Native American Music ..................................... All in the Stomp Dance: Dance as an Intrinsic Element of Music ............................ From Parker to Pullen: The Heritage of Some Jazz Greats ....................................... CHAPTER VI. CONCLUSION ........................................................................................... REFERENCES ...................................................................................................................... 23 27 28 30 34 35 38 39 42 49
The members are Michael Gil (guitar and percussion), Manuel Clua (flute), Yuri Escobar (percussion), Gerardo Guerra Santana (bass), Emigdio Perez (electric guitar), Geordany Caraces (vocalist) and Eduardo Popy Ramos (percussion). The interesting part about their music is the fusion of genres, including elements of Brazilian music, jazz and classic music. What caught my attention the most was how the band make the audience mentally transport to Cuba and created the sensation that we were in a Cuban’ Theater. Some of the songs performed were Story playin (drum negrita), Climbing the Mountain, Vals, Eru aye, Caracteristicas de la danza (rumba), Caravan and Jaw harp.The highnesses of the instruments accompanied with the vocalist create a sensation of life and energy. The vocalist was scatting all the instruments that they used in each piece.
The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, a period known as the Swing Era. The verb "to swing" is also used as a term of praise for playing that has a strong rhythmic "groove" or drive. History: 1920s: Origins The styles of jazz that were popular from the late teens through the late 1920s were usually played with rhythms with a two beat feel, and often attempted to reproduce the style of contrapuntal improvisation developed by the first generation of jazz musicians in New Orleans. In the late 1920s, however, larger ensembles using written arrangements became the norm, and a subtle stylistic shift took place in the rhythm, which developed a four beat feel with a smoothly syncopated style of playing the melody, while the rhythm section supported it with a steady four to the bar. Like jazz, swing was created by African Americans, and its impact on the overall American culture was such that it marked and named an entire era of the USA, the swing era – as the 1920s had been termed "The Jazz Age".