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3 pages/β‰ˆ825 words
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APA
Subject:
History
Type:
Coursework
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English (U.S.)
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Topic:

Jazz History

Coursework Instructions:

The textbook contrasts Hawkins’s harmonically based playing with Young’s linear playing. Describe their different approaches and aesthetic preferences.
Art Tatum has been criticized as a player without artistry. His technique is impressive, but how should one judge his artistry, or artistry in jazz in general? Is Count Basie any less of an artist than Tatum because Basie’s playing is understated?
In which ways was bebop revolutionary and in which ways was it evolutionary? How did each instrument change with regard to its function within the band?
Outline at least three factors that contributed to the decline of the jazz audience in the bebop era.
What does “cool” mean? How is it different from the “hot” jazz of the 1920s? How does it compare to bebop? Does the musical style of the Birth of the Cool recordings correspond in some way to your own definition of “cool”?
Describe at least five ways in which hard bop derived directly from the bebop tradition and at least two ways in which it did not. Provide specific musical examples to support your points.
George Russell is the first jazz musician to publish jazz theory. Was there any jazz theory before this? If there was, how was it taught to jazz musicians? How did they internalize and apply it, if not in a formal academic setting? Can you play jazz without any understanding of or training in music theory?
In what ways did Miles Davis’s stylistic shifts (i.e. cool, hard bop, orchestral, modal) emphasize experimentation in timbre?
Discuss the variety of ways in which two distinct periods or styles of jazz prior to 1955 may be considered avant-garde. Be sure to provide at least one specific musical example of an artist and his or her work that represents each style selected for discussion to support your points.

Coursework Sample Content Preview:

Jazz History Final
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Jazz History Final
Coleman Hawkin was among the great jazz improvisers of the 30s since he used a more vertical approach to his melodies by narrowly spelling out the notes in the chord in an arpeggiated top-down movement through each chord. When he took his leave from the Fletcher Hendersomn Band and Lester Young came in place, the latter was unable to mimic his predecessor's style owing to his horizontal style of playing. Young played from one chord to another in a scalar fashion without arpeggiating the chords, thereby ushering a whole new style of playing. Despite his impressive technique, Art Tatum is often criticized for lacking imagination and barely improvising in his music.
However, I believe that to arrive at a more thorough evaluation of his artistry or artistry in jazz in general, it is important to first listen to all of an artists' recordings to appreciate those subtle peculiarities that are easily missed. Suppose one listens keenly to Tatum's recordings. In that case, it is possible to realize that his chords were rich and embedded with dissonances. They sounded like several notes instead of conventional chords, particularly in relation to the dominant chords. He was also fond of playing a diverse sequence of chords following the melody: the substitute chord progressions are typically unconventional.
Bebop was a revolutionary style of jazz in that it entailed smaller ensembles and focused on improvisation as well as interaction as opposed to the large ensembles and intricate band arrangements of the Big Band Swing style. It was groundbreaking owing to its harmonic complexity, rhythmic irregularity, and fast tempos as compared to other jazz styles (Zinck, 2016). The style employed a smaller ensemble, and the typical Bebop combo had to make do with two horns (saxophone and trumpet) and drums, bass, and a piano for the rhythm section. One of the three factors that contributed to the decline of the jazz audience in the Bebop era was the fact that the style was deemed too cerebral by most jazz listeners who could not sing it or dance to it.
Another factor was the proliferation of both male and female crooners such as Frank Sinatra and Peggy Lee, who sang in a soft, popular, and intimate conversational style. The third factor relates to the growing acceptance of rock & roll, which attracted numerous listeners. Cool jazz was a style of jazz that followed...
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