'Beyond Europe\r'

'The Roaring Twenties brought forth a wise symphonyal style in the United States. smashing together the complex bl annul of European and African the Statesn medicinal drugal traditions, merging the soulfulness of the discolour and the syncopated rhythms resulted in a laughable, rhythmic oblige medical specialty that is cognize as hump. It is a medical specialty dominated by improvisations and a definitive put (Kamien, 1998, p. 359). This customary unison has produced some of the best American melodious figures- Louis Armstrong, Duke Ellington and Charlie Parker.Indeed, it has become one of the more touristed music the world has k nowadaysn and continues to enjoy today. thither are two clear-cut jazz features: swoon and rhythmic jive. It boasts of lively rhythm that is oftentimes elusive to describe but easy to recognize and learn to. Its echo and response feature, wherein a voice is answered by an instrument or an instrument is answered by other instrument arose from the African American church function where the congregation responds vocally to the preacher’s call (p. 360).But more than the percussive sounds, improvisations, call and respond, and the performance techniques that company jazz music, jazz music is popularly known as the â€Å"only truly American piece to the world of music” (Wright, 1996, p. 390). While jazz music is an amalgam of different musical streams, it is in America where jazz was planted and flourished. There is no get by about that. There is no concrete picture that show when jazz started or how it commencement ceremony sounded because the music was only heard; hence no musical notations were traced.However, its origin was placed somewhere in 1900 (Kamien, 1998, p. 359). What was plastered about jazz music though was where it was first heard: in southern and Midwestern cities. manage music was first heard in the streets, bars, brothels and bound halls in New Orleans, St. Louis, Kansas City and Chicago (Wright, 19976 p. 390). Furthermore, it was in New Orleans where many jazz legends began- Armstrong, powerfulness Oliver and Jelly Roll Morton (p. 391). One of Oliver’s finest whole works is the Dippermouth red-hots, which showcase instrumental blues in its unique New Orleans style.This style is usually root on a march, a church product line or a rag piece (p. 365). On the other hand, Armstrong was best known as the inventor of scat singing, warbling nonsense syllables like dat-a-batâ€a-dip-da (p. 365). He was in like manner an outstanding jazz trumpeter and his performance of Hotter than That with this radical The Hot Fives focused on the improvisatory solos. When the Spanish-American War ended, in that respect was a surplus of military band instruments interchange at a cheap price. Many coloured musicians brought instruments and took up recitation in bars and brothels (Wright, 1996, p.391). pot instruments were instrumental (pardon the pun) in shapin g jazz music. It was a reflection of the African Americans’ love of music and importantly, their tendency to succeed. The precursors of jazz music were ragtime and the blues which existed in the 1890s to 1915 (Kamien, 1998 p. 360). Ragtime was generally played by menacing pianists (Wright, 1996p. 390). Black pianists experienced difficulties looking for employment so they were reduced to playing in brothels, saloons, and dancehalls. notwithstanding that, the popularity of ragtime music could not be discounted.By the end of World War I, roughly two curtilage piano planers of piano ragtime music were exchange (p. 390). Scott Joplin, the man behind famous pieces like Maple flick Rag and The Entertainer was the best-known composer of ragtime music. Similar to ragtime music, blues was another music that grew out of the African Americans. It is said that blues were a kind of pitch-dark folk song that originated in the 1880s-1890s in the southwestward (Wright, 1996, p. 387) . It was developed out of the work songs, spirituals and field hollers of the black slaves (p. 387).Typical blues subjects were of poverty, loneliness, oppression, and melancholy. By 1912, the blues were printed as sheet music (p. 387). Ragtime music, with its upbeat sound, and the blues, which reflected the hard conduct and the tough-minded humor of the African Americans, helped uplift good deals’ spirits. The liberal Era, which covered 1900s up to the First World War, was a period of marked changes in the country. Problems on capital, labor, immigration, and putridness in politics pervaded the country (Jordan and Litwack, 1991, pp. 570-594).Adding more spring to be depressive was the aftermath of the First World War. Repression and bigotry pervaded the country. The post-war years brought despair for many African Americans. With the Jim triumph restrictions, the lynching, beatings, and revival of the Ku Klux Klan, Americans, especially the African Americans, turned to music for comfort. Their desolate living unleashed their creativity. Out of ragtime and the blues came the expressive, raspy style that became the jazz. The end of the war and the not bad(p) black migration make it possible for jazz music to spread in America.As aforementioned, jazz became the rage in the 20s. Novelist F. Scott Fitzgerald even dubbed the time as the â€Å"Jazz develop” (Wright, 1996, p. 394). Jazz music became so popular that it was now performed in large dancehalls and even in pictorial matter houses (p. 394). In the years to follow, jazz developed into a rich sub styles such as swing, bebop, coolheaded jazz, free jazz and rock fusion. Ellington was one of the nigh revered composer, arranger and conductor in the swing era. Some of his works include Ko-Ko, Air shaft, and Blue Serge (Kamien, 1998, p. 367).Other notable jazz piece is the bebop-syled Bloomdido performed by low saxophonist Charlie â€Å"Bird” Parker, trumpeter Dizzy Gillespie, sea b ass player Curly Russell, pianist Thelonious Monk and percussionist comrade Rich (p. 368). Meanwhile, Miles Runs the Voodoo Down from trumpeter Miles Davis exemplifies jazz rock. No doubt, jazz music is one of the nigh important American contributions to twentieth century popular culture. At the heart of jazz is improvisation. Looking back, people were probably drawn to jazz music on the nose because of this.Through music, they had the freedom to follow their own flights of fancy. It is this appeal that made it popular with people during that time. Jazz music became a diversion, bit at the same time, an aspiration that peradventure one day, they would do more than make do. References Kamien, R. (1998). medical specialty An Appreciation 3rd ed. USA: McGraw-Hill. Jordan, W. and Litwack, L. (1991). The United States unite Edition 7th ed. New Jersey: prentice Hall. Wright, C. (1996). Listening to Music 2nd ed. Minnesota: double-u Publishing Company.\r\n'