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The History of Jazz, 2002.
Discussion of the history of jazz and of its legends.
1,150 words (approx. 4.6 pages), 5 sources, AU$ 71.95
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Abstract
Some of the topics discussed in this paper are: Buddy Bolden, sources of the 'sound', privilege of sound, myths and legends in the history of jazz.
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Jazz History Essays, 2004.
This article discusses the history of jazz.
2,260 words (approx. 9.0 pages), 6 sources, MLA, AU$ 128.95
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Abstract
The paper looks at jazz history. In this article, the writer also looks at blues and gospel. In this paper, Basie, Ellington, Davis and Armstrong are also discussed. The writer examines the history of the development of the alto sax.
From the Paper
"Charles Joseph Sax, a manufacturer of brass at woodwind musical instruments lived in Dinant, Belgium. King William I of the Lowlands appointed him the royal music instrument manufacturer and commissioned him to make the band instruments for the newly created army of his new kingdom. Sax's son Adolphe, picked up his father's proclivity for musical instruments and soon knew the structure of all kinds of brass and woodwind instruments. He invented the bass-clarinet ... "
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Treatment Of Gender And Ethnic History In Two American Novels, 2002.
Examines the pattern of ideas in Toni Morrison's "Jazz" and in Louise Erdrich's novel "Tracks" and the issues of gender and social and cultural history.
2,250 words (approx. 9.0 pages), 6 sources, AU$ 128.95
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Abstract
Examines the pattern of idieas in Toni Morrison's JAZZ & in Louise Erdrich's novel TRACKS & issues of gender and social and cultural history. Describes plot, characters, and themes of each novel. African-American & Native American experiences & communities. Woman's point of view. Historical implications of each novel.
From the Paper
"The purpose of this research is to examine the treatment of gender and history in Louise Erdrich's novel Tracks and Toni Morrison's novel Jazz. The plan of the research will be to set forth in general terms the pattern of ideas emerging in each of the works, and then to discuss how the specific issues of gender and social and cultural history are articulated and analyzed, as well as the relevance these issues have for a more complete un.derstanding of the relevance of gender and history representa.tions have to positioning the novels as cultural commentary.
In order to appreciate the way gender and history are treated by Morrison and Erdrich in their respective novels, it is useful to note that the fictional design of each novel appears to be ethnographic in character. Tracks, for example, is placed in the context of a dying Native American community at Match ..."
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Oral History, 2004.
A definition and examination of oral history.
1,457 words (approx. 5.8 pages), 4 sources, MLA, AU$ 78.95
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Abstract
A brief examination of the importance of oral history in providing a collective view of a historical event. The paper explains that it can be defined as the narrative of individual human lives and experiences. The paper also briefly discusses the oral history narratives in the project/book, "Central City Blues", which involves various California jazz and blues narratives.
From the Paper
"However, one of the benefits of music and film entering the mainstream acceptance of high culture is the recognition by historians that heard, lived, and even personal experience are also a valid historical form of documentation. Writing is not all that matters, our own culture?s shift in emphasis from the world to the voice and image instructs us. Oral history is a different form of history than history recorded by those who never lived through the events, but it is still history, and an important component of understanding the past. One of the most valuable aspects of oral history lies in the fact that it is able to bring to life the physical, lived experience of individuals ?in the moment? of history, that would otherwise be lost in an overly intellectualized, analytical framework."
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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$ 89.95
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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."
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Substance Abuse during the Jazz Age, 2004.
A look at the contribution of alcohol and drug addiction to jazz music.
1,285 words (approx. 5.1 pages), 4 sources, MLA, AU$ 70.95
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Abstract
This paper analyzes the topic of drug abuse and alcoholism during the Jazz Age and specifically discusses the history of abuse and its effects on musicians and the music itself. It looks at how jazz music has a long and varied history in the United States and how, unfortunately, it includes a long history of drug and alcohol abuse among performers, too. It attempts to show how this abuse helped give jazz an undeserved reputation among many listeners and how it also created a sub-culture among performers that has been difficult to overcome.
From the Paper
"Jazz is more than music and enticing rhythms, jazz is a state of mind for many, and that may be why so many jazz musicians and performers alter their states of mind with alcohol and drugs. Jazz music first came into being in the early 20th century, and the word was first noted around 1913 (Teachout 58). A jazz writer notes, "That word jazz is ambitious. [?] The origin of the word is uncertain. The term has been applied also to noisy proceedings, to loud writing, to eccentric and discordant coloring'" (Osgood 10). Often performed by black musicians, jazz played a part in the Harlem Renaissance in New York, and remains one of the most popular forms of music today."
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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$ 110.95
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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."
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"Jazz" by Toni Morrison, 2003.
Examines Toni Morrison's "Jazz" as a search for the African-American continuum.
1,345 words (approx. 5.4 pages), 5 sources, MLA, AU$ 73.95
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Abstract
This paper explains how Toni Morrison uses jazz and histories to explain African American displacement. t also looks at how the characters use jazz and the image of Dorcas to bring their identities full-circle. It examines, in particular, Joe and Violet's deconstruction and reconstruction and how this relates to the larger story of African American history.
From the Paper
"The story begins with the outcome of the character?s displacement, a murder and an attempt at a dead girl?s mutilation. Right away the reader sees the fracture which converges in acts of violence. How it came to this point is where the story lies, found in pieces hoping to be put together, Violet?s crack and Joe?s traces. Along with the history that could allow these individuals to come such a state; the brutalized body of slavery and post-Civil War oppression. Morrison tries to find a restructured identity in which lies the power to heal. Dorcas and jazz are instruments towards that healing (Jones 481)."
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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$ 152.95
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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."
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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$ 115.95
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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 ... "
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Jazz, 2005.
An overview of the definition and origins of jazz.
1,214 words (approx. 4.9 pages), 7 sources, MLA, AU$ 67.95
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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."
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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$ 92.95
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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."
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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$ 128.95
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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."
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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$ 150.95
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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."
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"Jazz", 2005.
Examines how jazz music connects people in Toni Morrison's novel.
1,524 words (approx. 6.1 pages), 1 source, AU$ 81.95
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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".
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