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This chapter briefly covers the sociological and musical backgrounds of jazz. It then goes into detail regarding what Schuller takes to be the major elements of jazz. In the section on rhythm , the book describes swing technically, while first admitting that "a definition of swing has about the same sketchy relationship to swing itself as jazz ...
Rooted in the principles of liberation psychology and influenced by the global history of music's role in communal and spiritual practices, LMT challenges traditional, colonialist frameworks of mental health care. It emphasizes addressing systemic oppression and transgenerational trauma through culturally relevant music practices, particularly ...
4 tresillo figure at 2:20. "Footprints" is not, however, a Latin jazz tune: African rhythmic structures are accessed directly by Ron Carter (bass) and Tony Williams (drums) via the rhythmic sensibilities of swing. Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent. The following example shows ...
During this time, jazz diversified into steadily more experimental fields. By the end of the 1940s, jazz had grown into such varied fields as bebop and jazz. Rock and roll was soon to become the most important component of American popular music, beginning with the rockabilly boom of the 1950s. In the following decade, gospel evolved into ...
Jazz standard – musical composition which is an important part of the musical repertoire of jazz musicians, in that it is widely known, performed, and recorded by jazz musicians, and widely known by listeners. Jazz standards include jazz arrangements of popular Broadway songs, blues songs and well-known jazz tunes. List of pre-1920 jazz standards
In chapter 4, he describes discovering jazz music as a teenager and being fully attracted to Duke Ellington's music and how he was fascinated by its "freely, loosely, more personal" music style, which he had not experienced as a classical learner. Later, he discusses how he wanted to combine classical music and jazz together to produce a third ...
"Negro History Week, and later Black History Month, provided, and still provides, a counterpoint to the narratives that either ignore the contributions of Black Americans or misrepresent the history."
The first jazz recording was made by Sidney Bechet in 1954 under the title "La Complainte de Mackie". Louis Armstrong's 1955 version established the song's popularity in the jazz world. [88] It is also known as "The Ballad of Mack the Knife". [88] "Nagasaki" [89] is a jazz song composed by Harry Warren with lyrics by Mort Dixon.