| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "HARD BOP COOL JAZZ": |
|
|
Hard Bop and Cool Jazz, 2001.
Discusses differences between the 2 styles; socio-cultural context.
2,025 words (approx. 8.1 pages), 10 sources, AU$ 104.95
»
Click here to show/hide summary
From the Paper
"In July of 1955 the Atlantic Monthly published a lengthy essay in which the author, Arnold Sundgaard, discusses the position of jazz in the 1950s as both a distinctive art form and a mirror for socio-cultural activity. In his exposition, Sundgaard notes that above all else jazz seems to thrive on endless exploration and ceaseless discovery, that it is at its core the expression of some very enduring opposites: freedom and form, responsibility and surrender, exuberance and pain (Sundgaard). It is not surprising then that at the time of Sundgaard?s writing, two of the prevailing popular jazz styles, ?cool jazz? and ?hard bop?, were in many regards opposite by nature. "
| |
|
Miles Davis, 2001.
Discusses controversy over his shift from cool jazz & hard bop to jazz/rock fusion & electronic instruments in 1969. Analysis of "Bitches Bew" recording.
1,575 words (approx. 6.3 pages), 6 sources, AU$ 80.95
»
Click here to show/hide summary
From the Paper
"Near the end of the 1960s jazz trumpeter Miles Davis (1926-91) began to experiment with electronic instruments (primarily bass and piano) played by members of his groups. Within a short time Davis released two recordings, In a Silent Way (1969) and Bitches Brew (1969), that started a storm of controversy--although the latter record sold better than any album in jazz history. The problem as Davis saw it was that people were simply unprepared to listen to his new style of group improvisation because, first, it involved electronic instruments and rock beats and, second, it was too complex and unusual. But critics and fans who deplored the new direction complained that the music simply was not jazz, that Davis had "sold out" in order to attract the large white audience for rock music with a "fusion" of jazz and rock, and, in some cases, that his new music was a..."
| |
|
"Cool Like Me" by Donnell Alexander., 2002.
An analysis of the author's meaning of 'cool' in "Cool Like Me" by Donnell Alexander.
650 words (approx. 2.6 pages), 1 source, AU$ 38.95
»
Click here to show/hide summary
Abstract
This paper will discuss the story "Cool Like Me" by Donnell Alexander, and seek to understand the methods by which the author argues for within the text. By realizing the different facets of his beliefs, we can see the major ideas that he unravels, while being able to understand his style of writing. The techniques contained within the text will be examined to show how the author used his abilities to tell his version of 'cool.'
| |
|
Jazz Music, 2001.
This paper examines the history of American jazz music, various jazz artists, cultural, and musical influences.
2,200 words (approx. 8.8 pages), 13 sources, AU$ 99.95
»
Click here to show/hide summary
Abstract
This paper provides an in depth look at the history of jazz, the early development of the music style, through African American musicians trying to create music that was uplifting; the direct opposite of the blues. The author discusses rhythm and instrumentation, numerous jazz artists and popular tunes.
From the Paper
"Jazz is associated with the African American people and this is an influence unequaled in the field of music. The true spirit of jazz arises from a revolt from convention, custom, authority, and boredom, even sorrow, from everything that would confine the soul of man. The blacks that invented it called their songs the blues, and they weren't capable of satire or deception. Jazz was their explosive attempt to cast off the blues and be happy, carefree happy, even in the midst of sordidness and sorrow. Jazz is a release of all the suppressed emotions at once. Jazz is a part of the direct process of African American music. In rhythm it goes directly back through ragtime, through the minstrel period, through the spirituals and dances to its African origin."
| |
|
Race and Jazz Music, 2004.
An historical and cultural exploration of the roots of the debate over whether jazz music is exclusively "black" music.
3,320 words (approx. 13.3 pages), 6 sources, MLA, AU$ 137.95
»
Click here to show/hide summary
Abstract
Jazz is a music that belongs to all races. This paper argues that, even though there have been a majority of African-American musicians in the jazz community, anyone can play it, write it, and express their feelings through it. There was music being played at the same time jazz began by other people who had a big influence on jazz, however. This paper shows that there have also been many white musicians who have made important and influential contributions to jazz. Over the last few decades, many jazz artists and critics have become vocal about their opinion about jazz and race because there are so many strong opinions about it. The writer concludes that this issue has been discussed privately since jazz became popular and that the connection between jazz and race continues to be a widely discussed topic in the jazz community.
From the Paper
"The connection between jazz music and race has been discussed since jazz first became a genre one hundred years ago. Over the last four decades, many jazz artists have become more vocal about the idea that jazz is a black music. The argument is not that all good jazz musicians are black, but that the most immediate and significant ancestors have been black. Some of the major jazz innovators such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis Thelonious Monk, and John Coltrane have been black. The view of jazz as a black music, however, is controversial. There are many that believe that jazz is not the property of just one racial group. Artists who are or were not black such as Benny Goodman, Artie Shaw Stan Getz, Bix Beiderbecke, Gerry Mulligan, Dave Brubeck, Frank Trumbauer, and Charlie Haden have also left distinguished marks on jazz. At the turn of the century, when jazz first became popular, white and black musicians were playing very similar, though not identical, forms of music. Some artists and critics claim that the jazz expression of black Americans is a creative reflection of the black experience, however, most artists see jazz as a way to express personal experience, no matter what race they are. Though the first innovative jazz musicians were black, jazz is a music that belongs to all races."
| |
|
The Development of Jazz in the U.S., 1991.
This paper analyzes the development of jazz in the United States: Early influences, Ragtime, Blues, New Orleans Jazz, Big Band Jazz and Bebop, Scott Joplin, Jelly Roll Morton, King Oliver, Louis Armstrong, Bix Beiderbedke, Charlie Parker, Thelonious Mon
2,025 words (approx. 8.1 pages), 10 sources, AU$ 104.95
»
Click here to show/hide summary
From the Paper
"This paper will provide an analysis of the development of jazz in the United States. After a brief overview of the history of the art form, the paper will turn to an analysis of some of the major types of early jazz--ragtime, blues, New Orleans jazz, the Big Band, and Bebop. Finally, the paper will conclude with some of the personalities that made jazz such a vital and exciting art form: Scott Joplin, Jelly Roll Morton, King Oliver, Louis Armstrong, Bix Beiderbecke, Charlie Parker, and Thelonious Monk.
During the 1920s, while European classical music was being "turned upside down" by such composers as Arnold Schoenberg and Igor Stravinsky, the United States was quietly, developing its own distinct and separate musical form with a decidedly unclassical name--jazz. At this point, jazz was not the product ... "
| |
|
Jazz, 2005.
An overview of the definition and origins of jazz.
1,214 words (approx. 4.9 pages), 7 sources, MLA, AU$ 60.95
»
Click here to show/hide summary
Abstract
Jazz is described as a form of musical improvisation that combines both organization and spontaneity. It is the spontaneous improvisation that separates it from traditional Western music, which is written down in notation as carefully as possible, in order to make sure that it is performed as closely to the composer's intentions as possible. This paper provides a definition of jazz before exploring the origins of this musical genre. The paper examines what makes certain music be regarded as jazz and explores the influence of jazz on other music.
Paper Outline:
Introduction
The Origins of Jazz
What Makes it Jazz?
The Influence of Jazz
Conclusion
Bibliography
From the Paper
"Even though jazz is a rich mixture of melody, rhythm, harmony and inventive improvisation based on those basics, it has always not been treated with respect by music historians and other experts. For instance, in his book An Illustrated History of Music, the author does not even give jazz a mention. Marc Pincherle seems to have a bias toward traditional Western European styles of music, but Gerard (p. 12) states, "Music does not have to be totally predictable to be beautiful." Jazz may suffer because it is often not written down in notation, and because much of its history is recorded informally."
| |
|
Jazz: The American Heritage, 2002.
Looks at the origins, history, and composition of American jazz.
1,774 words (approx. 7.1 pages), 8 sources, MLA, AU$ 83.95
»
Click here to show/hide summary
Abstract
This paper delves into the indigenous, American creation of jazz music. It looks at the relationship between the origins of jazz and the history of African-Americans, the main characteristics of jazz music, and the instruments originally used for playing jazz. The beginning of jazz music in New Orleans is discussed, as well as some of the influences on the music and the different types of jazz that evolved over time. Famous jazz musicians and singers are also mentioned.
From the Paper
"A significant relationship exists between the origins of jazz and the history of African-Americans. To entertain themselves and get through the grueling days, plantation slaves would perform music that would remind them of their African homeland. Their songs, sounds and compositions would be on the wide variety of singing, rhythms and melodies that ranged throughout the continent."
| |
|
Jazz in the Twenties, 2005.
This paper discusses the history of jazz in the twenties as it developed in two centers, Chicago and New York.
2,635 words (approx. 10.5 pages), 14 sources, MLA, AU$ 115.95
»
Click here to show/hide summary
Abstract
This paper explains that, with the closing of the Storyville seaports in New Orleans and increased discrimination in the south, numerous musicians began to venture to Chicago and New York with hopes of finding prosperity in their field of business--jazz. The author points out that, in Chicago, the four main styles of jazz were Boogie Woogie, Chicago Jazz, Society Jazz and Urban Blues and the major innovators were Bix Beiderbecke and Benny Goodman. The paper relates that, in New York's Harlem area, which did more for the Jazz age then any other town in the world, jazz flourished in the different styles of bands from big band to spasm bands and in innovators such as Paul Whiteman, James Reese Europe and Fletcher Henderson, which resulted in the Harlem Renaissance that opened the eyes and the mouths of African-American public.
From the Paper
"Bandleader Paul Whiteman was another major New York Jazz figure of the era. He was especially famous for introducing jazz into the mainstream audience of the decade. Not only was he a great performer of the day, be he also gave back to the jazz community as an avid listener and audience member himself. For instance, Duke Willington stated, "no one could fault Whiteman for his generosity of spirit." In 1924, after finishing his evening at New York's Palais Royal, he would stop by around the corner at the Kentucky Club to soak up the sounds of Duke Ellington and his Club Serenaders."
| |
|
Jazz Appreciation, 2005.
An analysis of the history of jazz music and how it can be used in urban-area education.
3,273 words (approx. 13.1 pages), 11 sources, MLA, AU$ 136.95
»
Click here to show/hide summary
Abstract
This paper discusses the importance of jazz appreciation. It begins by discussing the history of jazz music and how its popularity has changed over time. The paper defines jazz music and discusses jazz musicians. It then goes on to discuss how music, in general, can be used in education and how jazz music, in particular, can be used as a vehicle for urban-area education.
From the Paper
"Anyone in today's world can turn on the radio and find almost every genre of music, except for one: jazz. Jazz was a music form that dominated the billboard charts fifty to sixty years ago, and has slowly faded away, leaving the music industry as a money-interest only business, not very concerned about the music itself. Jazz as a whole today can be found in very few places such as small jazz clubs in big cities, private parties, and unfortunately, elevators. When music is restricted only to certain venues, it is bound to die out soon. Today's music world has pop and rap genres dominating. What many music followers fail to realize is that the roots of their "popular" music evolved from jazz. Jazz music is on a definite decline due to a lack of appreciation and media attention. The music of jazz brings along many positive aspects, most importantly, a vehicle for urban-area education. Through the different stages of the jazz period, and the influences that made a milestone in that period, this classic genre has made a landmark in our world's history."
| |
|
"Jazz", 2005.
Examines how jazz music connects people in Toni Morrison's novel.
1,524 words (approx. 6.1 pages), 1 source, AU$ 73.95
»
Click here to show/hide summary
Abstract
As the title suggests, "Jazz" connects key aspects of jazz music to the disenchanted lives of the book's characters, creating three significant parallels. Overall, the book becomes an instrument for Toni Morrison's melody. The paper shows that, first, like a jazz ensemble, each character's solo is arranged together to create a disjointed unity, contrasting notes that somehow come together. Second, a new and unique rhythm, voice, beat and language are created that go beyond the conventional forms of both music and storytelling. In other words, the book tries to portray the importance of jazz for blacks in Harlem in the 1920's. It becomes a way of communicating a history, a present, and a future that have never before been told. The paper shows that, finally, the door is opened for improvisation, change, and perhaps even hope.
From the Paper
"Essentially, through these jazz-like lyrics, Morrison provides these characters with a way to tell their story. Otherwise, they do not know how to talk to each other; in fact, they can't seem to communicate in the traditional way through conversation. Therefore, they need, even want, their own form or method for saying what they want to say. For example, the narrator tells us that "Maybe everybody has a renegade tongue yearning to be on its own" (24). In the meantime, however, "Violet shuts up. Speaks less and less until "uh" or "have mercy" carry almost all of her part of a conversation".
| |
|
The Roots of Jazz, 2003.
Reports on the history of jazz, what it is today, and who some of its key players were.
2,025 words (approx. 8.1 pages), 7 sources, MLA, AU$ 94.95
»
Click here to show/hide summary
Abstract
This paper emphasizes the history of New Orleans and how it was such a perfect place for jazz to take hold and grow. The paper examines the city's race relations, reconstruction, its allowance of prostitution, and how these city characteristics fostered the growth of jazz.The paper also looks at some of the key players that were instrumental in popularizing jazz and examines the hardships faced by up and coming jazz musicians like Buddy Bolden and his sister, Lottie Bolden.
From the Paper
"To define the roots of jazz is to look into all that the cornucopia of Southern culture has to offer. It incorporates forms of music that are so widespread that it is often difficult to understand how they could have come together to create a music that is truly and completely American. From classical to hymnals, confederate marching bands to back-wood folk tunes, jazz brings together musical characteristics that come from Africa, Europe, the Caribbean and America. But the stage that these elements would come together upon was the most important key in the creation of jazz. It is difficult to surmise how this vast array of influences could have united in any place other than New Orleans. It is in this city of lust and guilty pleasures that jazz was born and its dirty cradle would provide jazz with an audience that spread throughout the country. The musical industry that jazz would become could not have formed without New Orleans? mixed culture and its allowance of prostitution in the region popularly known as Storyville. New Orleans at the turn of the century on one hand was a city ahead of its time in fashion and entertainment, and on the other hand far behind in race relations. It hosted several opera companies and incorporated some of Europe?s highest fashion. French and Creoles still had a strong presence in the city and brought their own individual flavor to the popular culture of the time. This however, would create divisions among races that ignited a variety of race riots in the early 1900s that would leave parts of the city badly damaged physically and culturally."
| |
|
Avant-Garde Jazz, 2004.
An examination of the contribution that the avant-garde genre had to jazz music.
1,024 words (approx. 4.1 pages), 8 sources, MLA, AU$ 53.95
»
Click here to show/hide summary
Abstract
This paper examines how the avant-garde movement in jazz is important because it represents the departure from traditional forms of jazz into a more free-flowing form that allowed musicians to express themselves in a way that they had not done before. The writer argues that many jazz greats have contributed to this movement, and many critics feel that it is a shame to ignore the significance of the jazz avant-garde movement.
From the Paper
"Musicians that illustrated a departure from traditional jazz and regularly included bebop into their music are Ornette Coleman, Wilbur Barr, Ed Blackwell, and Billy Higgins. An interesting characteristic of bebop is the type of singing that generally accompanied songs. Much like scat singing, bebop singers would incorporate ?something like chants and field hollers? into the music. This freedom allowed the musical instruments to carry the ?entire rhythmic impetus of the music? (226). This type of rhythmic freedom and diversity is what Jones claims is the ?valuable? legacy of bebop. Gottlieb claims that the Hard Boppers? wanted to revolutionize jazz but did not go far enough. What was seemingly lost in the 1940s was rediscovered in the 1960s. ?Because rhythm and melody complement each other so closely in the latter style, the drummer and bass player were better able to play melodically. There was no longer a concern with continuing the beat in a song."
| |
|
The Changing Sounds of Jazz, 2007.
This paper discusses jazz focusing on the Dixieland revival of the 1930s and the blues revival of the 1960s.
1,727 words (approx. 6.9 pages), 5 sources, APA, AU$ 80.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that the sounds of jazz with its unique rhythms, instrumentals and vocals remain a mystery to many even today. However, the writer points out, it is more through a lack of understanding of the sounds of jazz, perhaps even the history of the music that it is cast into the category of musical mystery for those less gifted, but who nonetheless appreciate good music. The writer discusses two special moments in the history of jazz:the Dixieland revival period, or the "Swing Era," during the early 1930s and going into the 1940s; and the blues revival of the 1960s. The writer notes that a look at these two periods of musical history is interesting, and a music lover's delight, and informative when considering the influence both periods had on what is jazz today.
Outline:
The Dixieland Revival of the 1930s
Blues Revival of the 1960s
Conclusion
From the Paper
"Some historians have traced the roots of blues to a period in American history beginning with the arrival of the first slaves, in 1619. Ambiguous or contentious as that may be, it nonetheless serves as a marker for what is surely one of the most significant forms of music in America; the blues. Perhaps what can be said, without contention and without setting historians and musicians alike into a tailspin, is that the blues, like Dixieland, have experienced peaks and low in musical history, and has contributed and influenced the heart of jazz. One of the significant periods in history where the blues experienced both a revival in sound and style, and from which, like the Dixieland of the 1930s, emerged new figures of greatness; and a time that greatly influenced and helped spotlight once again jazz, is the 1960s."
| |
|
Hard Candy, 2006.
This paper discusses a marketing research approach for the product Hard Candy, nail polish.
675 words (approx. 2.7 pages), 0 sources, AU$ 38.95
»
Click here to show/hide summary
Abstract
This document discusses the research and development (R&D) of a new product: Hard Candy. The writer explains that Hard Candy is a new and innovative nail polish that is easy to apply, peels off, and does not turn fingernails yellow. The research approach is based on a tripartite approach: 1) sampling, 2) researcher interviews, and 3) focus groups. The writer notes that such a comprehensive research strategy ensures that an accurate model of Hard Candy's initial viability and long-term sales potential can be determined before production begins.
From the Paper
"Hard Candy is the working name of the subject product. Hard Candy is a new and innovative nail polish that is going to be marketed in a host of different colors and shades. Hard Candy is innovative and unique compared with traditional nail polish because it applies somewhat like a type of clay and peels off rather than requiring finger nail polish remover. Additionally, Hard Candy does not turn an individual's nails yellow from use and application. The target market for this product is almost exclusively female and particularly the 12-18 female demographic with females aged 19-25 being a secondary target. Market Research Approach The research undertaken for this product to determine its market viability and market potential must be based on a tripartite strategy of consumer sampling, researcher interviews, and focus groups."
| |
|
Hard and Soft Currencies, 2006.
A review of the characteristics and attributes of hard and soft currencies.
675 words (approx. 2.7 pages), 3 sources, AU$ 38.95
»
Click here to show/hide summary
Abstract
This document discusses the characteristics and attributes of hard and soft currencies. The paper identifies hard currencies as positive investment targets and are typically associated with stable economies and politically stable markets. The paper further discusses how soft currencies are most often associated with emerging markets and are typically avoided by investors because of their negative practices such as issuers often pegging such soft currencies to hard currencies which serves to destabilize world currency markets.
From the Paper
"Hard and soft currencies as well as knowledge of them are vital in the global economy. How international currencies interact is a strategic consideration for corporate bodies with operations in more than one area, country, or region in matters such as hedging for risk or in repatriating revenues. A hard currency is typically referred to as the currency of a leading economy and one that is widely accepted in all markets as a common form of payment, such as the U.S. dollar, the Swiss franc or the British pound (Carrada-Bravo, 2003, p.17). Additionally, hard currencies, or currencies classified as hard in character are especially liquid on foreign exchange markets where they are actively traded. Another perspective of hard currencies is that they are normally associated with politically, economically, and socially stable countries (Laulajainen, 2003, p.44)."
|
|
|
