Jazz zeitschrift

A full-text resource for the study of the film and entertainment industries, from the era of vaudeville and silent movies to 2000. The collection includes US and UK trade magazines covering film, music, broadcasting, and theater, film fan magazines, and popular music magazines I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception.[181] Homeland of the negro spirituals where you can find lyrics, history and singers. History- Singers- Home- Composers- Songs- Search- Shop. This site is devoted to traditional African American spirituals, and some information is given about the early Gospel songs.. Johannes Brahms, German composer and pianist of the Romantic period, who wrote symphonies, concerti, chamber music, piano works, choral compositions, and more than 200 songs. Brahms was the great master of symphonic and sonata style in the second half of the 19th century

The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major ... , and I carried this device into my melody as well.[71]Since bebop was meant to be listened to, not danced to, it could use faster tempos. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. This led to a highly syncopated music with a linear rhythmic complexity.[125] Although some jazz purists protested against the blend of jazz and rock, many jazz innovators crossed over from the contemporary hard bop scene into fusion. As well as the electric instruments of rock (such as electric guitar, electric bass, electric piano and synthesizer keyboards), fusion also used the powerful amplification, "fuzz" pedals, wah-wah pedals and other effects that were used by 1970s-era rock bands. Notable performers of jazz fusion included Miles Davis, Eddie Harris, keyboardists Joe Zawinul, Chick Corea, and Herbie Hancock, vibraphonist Gary Burton, drummer Tony Williams (drummer), violinist Jean-Luc Ponty, guitarists Larry Coryell, Al Di Meola, John McLaughlin, Ryo Kawasaki, and Frank Zappa, saxophonist Wayne Shorter and bassists Jaco Pastorius and Stanley Clarke. Jazz fusion was also popular in Japan, where the band Casiopea released over thirty fusion albums. In the opinion of jazz historian Ernest Borneman, what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time.[42] A three-stroke pattern known in Cuban music as tresillo is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora.[43][44] Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer.[18] The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures.[19]


The bossa nova style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim and was made popular by Elizete Cardoso's recording of "Chega de Saudade" on the Canção do Amor Demais LP. Gilberto's initial releases, and the 1959 film Black Orpheus, achieved significant popularity in Latin America; this spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented bossa nova's popularity and led to a worldwide boom, with 1963's Getz/Gilberto, numerous recordings by famous jazz performers such as Ella Fitzgerald and Frank Sinatra, and the eventual entrenchment of the bossa nova style as a lasting influence in world music. In the early 1980s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in "quiet storm" time slots at radio stations in urban markets across the U.S. This helped to establish or bolster the careers of vocalists including Al Jarreau, Anita Baker, Chaka Khan, and Sade, as well as saxophonists including Grover Washington Jr., Kenny G, Kirk Whalum, Boney James, and David Sanborn. In general, smooth jazz is downtempo (the most widely played tracks are of 90–105 beats per minute), and has a lead melody-playing instrument (saxophone, especially soprano and tenor, and legato electric guitar are popular). Approaches: Music Therapy & Special Music Education publisher: Greek Association of Primary Music Education Teachers language: Greek and English start year: 2009 frequency: semiannual peer-reviewed?: yes about: dedicated to issues related to music therapy and special music educationSamples: Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung publisher: Veröffentlichung der Gesellschaft für Poularmusikforschung e.V. (GfPM) language: German and English start year: 2002 frequency: annual peer-reviewed?: no about: publishes short papers on popular music research, as well as reports on work in progress, conference reports, and other newsThe M-Base movement started in the 1980s, when a loose collective of young African-American musicians in New York which included Steve Coleman, Greg Osby, and Gary Thomas developed a complex but grooving[187] sound.

Zeitschrift der Gesellschaft für Musiktheorie publisher: Olms / Gesellschaft für Musiktheorie language: German and English start year: 2003 frequency: triannual peer-reviewed?: yes about: offers a platform for new approaches to music theory

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  1. In Ohio and elsewhere in the midwest the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by the Black middle-class.[100]
  2. George Shearing 1959 Sir George Shearing OBE (eigentlich George Albert Shearing; * 13. August 1919 in London, England; † 14. Februar 2011 in Manhattan, New York) war ein US-amerikanischer Jazzpianist und Komponist britischer Herkunft. 228 Beziehungen
  3. Journal of Jazz Studies publisher: Institute of Jazz Studies at Rutgers language: English start year: 2011 frequency: semiannual peer-reviewed?: yes about: continues the print journal Annual Review of Jazz Studies; "provides a forum for the ever-expanding range and depth of jazz scholarship, from technical analyses to oral history to bibliography to cultural interpretation"
  4. African-based rhythmic patterns such as tresillo and its variants, the habanera rhythm and cinquillo, are heard in the ragtime compositions of Joplin and Turpin. Joplin's "Solace" (1909) is generally considered to be in the habanera genre:[62][63] both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk,"[64] whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass."[65]

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Morton considered the tresillo/habanera, which he called the Spanish tinge, an essential ingredient of jazz.[82] "Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz."[56] While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg, such a scheme cannot be sustained by the evidence from a cognitive approach. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. And it is also true that Duke Ellington adopted and reinterpreted some harmonic devices in European contemporary music. West Coast jazz would run into such debts as would several forms of cool jazz, but bebop has hardly any such debts in the sense of direct borrowings. On the contrary, ideologically, bebop was a strong statement of rejection of any kind of eclecticism, propelled by a desire to activate something deeply buried in self. Bebop then revived tonal-harmonic ideas transmitted through the blues and reconstructed and expanded others in a basically non-Western harmonic approach. The ultimate significance of all this is that the experiments in jazz during the 1940s brought back to African-American music several structural principles and techniques rooted in African traditions[129] Jazz theory and analysis concerns itself with the kinds of topics investigated by music theorists more generally, but dealing with jazz. These topics include but are not limited to (1) harmony, with investigation of tonal, modal, and atonal grammars; (2) melody; (3) rhythm; (4) scales and their relationship to harmony; (5) coherence and structure of jazz compositions, improvisations, and.

By 1866, the Atlantic slave trade had brought nearly 400,000 Africans to North America.[33] The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them.[34] The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns.[35] Accordingly, John Coltrane's "Giant Steps" (1960), with its 26 chords per 16 bars, can be played using only three pentatonic scales. Coltrane studied Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns, which contains material that is virtually identical to portions of "Giant Steps".[163] The harmonic complexity of "Giant Steps" is on the level of the most advanced 20th-century art music. Superimposing the pentatonic scale over "Giant Steps" is not merely a matter of harmonic simplification, but also a sort of "Africanizing" of the piece, which provides an alternate approach for soloing. Mark Levine observes that when mixed in with more conventional "playing the changes", pentatonic scales provide "structure and a feeling of increased space."[164] Robert Schumann, German Romantic composer renowned particularly for his piano music, songs (lieder), and orchestral music. Many of his best-known piano pieces were written for his wife, the pianist Clara Schumann. Learn more about his life and works in this article As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, bluesy, improvisational style and Gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.

M-Base changed from a movement of a loose collective of young musicians to a kind of informal Coleman "school",[191] with a much advanced but already originally implied concept.[192] Steve Coleman's music and M-Base concept gained recognition as "next logical step" after Charlie Parker, John Coltrane, and Ornette Coleman.[193] Brazilian jazz, such as bossa nova, is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English, whilst the related jazz-samba is an adaptation of street samba into jazz. Beiträge Empirischer Musikpädagogik = Bulletin of Empirical Music Education Research publisher: Deutsche Forschungsgemeinschaft language: German and English start year: 2010 frequency: semiannual peer-reviewed?: yes about: Dedicated to quantitative and qualitative studies in empirical music education researchNu jazz is influenced by jazz harmony and melodies, and there are usually no improvisational aspects. It can be very experimental in nature and can vary widely in sound and concept. It ranges from the combination of live instrumentation with the beats of jazz house (as exemplified by St Germain, Jazzanova, and Fila Brazillia) to more band-based improvised jazz with electronic elements (for example, The Cinematic Orchestra, Kobol and the Norwegian "future jazz" style pioneered by Bugge Wesseltoft, Jaga Jazzist, and Nils Petter Molvær).

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' Zur gesellschaftlichen Lage der Musik ', Zeitschrift für Sozialforschung, I, pp. 103 -24 and pp. 356-78 Adorno , T. W. 1941 . ' On popular music ' (with George Simpson), Studies in Philosophy and Social Sciences , 11 , pp. 17 - 4 In the 1990s, most M-Base participants turned to more conventional music, but Coleman, the most active participant, continued developing his music in accordance with the M-Base concept.[188] Pianist Keith Jarrett—whose bands of the 1970s had played only original compositions with prominent free jazz elements—established his so-called 'Standards Trio' in 1983, which, although also occasionally exploring collective improvisation, has primarily performed and recorded jazz standards. Chick Corea similarly began exploring jazz standards in the 1980s, having neglected them for the 1970s.

Jazz Hot - La revue internationale du jazz depuis 193

Smithsonianmag.com places a Smithsonian lens on the world, looking at the topics and subject matters researched, studied and exhibited by the Smithsonian Institution -- science, history, art. the very leaders of the avant garde started to signal a retreat from the core principles of free jazz. Anthony Braxton began recording standards over familiar chord changes. Cecil Taylor played duets in concert with Mary Lou Williams, and let her set out structured harmonies and familiar jazz vocabulary under his blistering keyboard attack. And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Musicians such as David Murray or Don Pullen may have felt the call of free-form jazz, but they never forgot all the other ways one could play African-American music for fun and profit.[178]"I didn't write out the music for Kind of Blue, but brought in sketches for what everybody was supposed to play because I wanted a lot of spontaneity,"[142] recalled Davis. The track "So What" has only two chords: D-7 and E♭-7.[143] Džez (engl. jazz) muzički je žanr koji je nastao u afro-američkim zajednicama Nju Orleansa u SAD u kasnom 19. i ranom 20. veku, i razvio se iz korena u bluzu i regtajmu. Od doba džeza iz 1920-ih, džez je počeo da biva prepoznat kao jedna od glavnih formi muzičkog izražavanja. On se zatim pojavio u vidu nezavisnih tradicionalnih i popularnih stilova, koji su svi povezani zajedničkim.

By the mid-1970s, the sound known as jazz-funk had developed, characterized by a strong back beat (groove), electrified sounds[174] and, often, the presence of electronic analog synthesizers. Jazz-funk also draws influences from traditional African music, Afro-Cuban rhythms and Jamaican reggae, notably Kingston bandleader Sonny Bradshaw. Another feature is the shift of emphasis from improvisation to composition: arrangements, melody and overall writing became important. The integration of funk, soul, and R&B music into jazz resulted in the creation of a genre whose spectrum is wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs and jazz solos, and sometimes soul vocals.[175] La Neue Zeitschrift für Musik, sota el patrocini d'Schott Music, continua sent un vehicle de periodisme musical actualment dedicat a les tendències contemporànies, el jazz, el pop, el rock l'art sonor i també a les manifestacions històriques de la música.Cada número es focalitza en un tema concret i inclou descripcions dels compositors, debats amb protagonistes de la vida musical.

MOJO Magazin

  1. Classically trained pianist Scott Joplin produced his "Original Rags" in 1898 and, in 1899, had an international hit with "Maple Leaf Rag", a multi-strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords. Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time.[61] The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below.
  2. Critical Studies in Improvisation = Études critiques en improvisation publisher: University of Guelph language: English and French start year: 2004 frequency: semiannual peer-reviewed?: yes about: a journal focused on improvisation as a social and musical practice
  3. Polish Music Journal publisher: Polish Music Center at the University of Southern California language: English start year: 1998 frequency: semiannual peer-reviewed?: yes about: is devoted to musicological studies of Polish music and music in Poland, particularly music that is not well-known in the West

Blended African and European music sensibilities

In his last in-depth interview, the legendary singer-songwriter, who died on April 7, guided MOJO’s Bob Mehr through his colourful career.Music and Arts in Action publisher: Sociology of the Arts Research Group, University of Exeter language: English start year: 2008 frequency: irregular peer-reviewed?: yes about: unites research from a variety of fields to take a holistic approach in researching the dynamic role of music and the arts in social life and cultural experience In Touch Weekly has affiliate partnerships so we may receive compensation for some links to products and services. In Touch Weekly is part of the American Media Entertainment Group Jazz originated in the late-19th to early-20th century as interpretations of American and European classical music entwined with African and slave folk songs and the influences of West African culture.[30] Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre.[31] McCoy Tyner perfected the use of the pentatonic scale in his solos,[157] and also used parallel fifths and fourths, which are common harmonies in West Africa.[158]

African rhythmic retention

JMM: The Journal of Music and Meaning publisher: University of Southern Denmark language: English start year: 2003 frequency: semiannual peer-reviewed?: yes about: a journal devoted to multidisciplinary research on music and meaningThe 1930s belonged to popular swing big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Harry James, Jimmie Lunceford, Glenn Miller and Artie Shaw. Although it was a collective sound, swing also offered individual musicians a chance to "solo" and improvise melodic, thematic solos which could at times be complex "important" music. In 2001, Ken Burns's documentary Jazz was premiered on PBS, featuring Wynton Marsalis and other experts reviewing the entire history of American jazz to that time. It received some criticism, however, for its failure to reflect the many distinctive non-American traditions and styles in jazz that had developed, and its limited representation of US developments in the last quarter of the 20th century. Min-ad: Israel Studies in Musicology Online publisher: Israel Musicological Society language: English start year: 1999 frequency: irregular peer-reviewed?: yes about: publishes articles and reviews in diverse areas of musical research

Jazztimes : America's jazz magazine

This occurred in parallel with developments in Cuba[150] The first Cuban band of this new wave was Irakere. Their "Chékere-son" (1976) introduced a style of "Cubanized" bebop-flavored horn lines that departed from the more angular guajeo-based lines which were typical of Cuban popular music and Latin jazz up until that time. It was based on Charlie Parker's composition "Billie's Bounce", jumbled together in a way that fused clave and bebop horn lines.[151] In spite of the ambivalence of some band members towards Irakere's Afro-Cuban folkloric / jazz fusion, their experiments forever changed Cuban jazz: their innovations are still heard in the high level of harmonic and rhythmic complexity in Cuban jazz and in the jazzy and complex contemporary form of popular dance music known as timba. Music Division. The Music Division is one of the world's preeminent music collections—documenting the art of music in all its diversity—classical and opera as well as the whole spectrum of popular music including spirituals, ragtime, jazz, musical theater, film, rock and world music

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JazzZeitung - Home Faceboo

  1. German History is renowned for its extensive range, covering all periods of German history and all German-speaking areas. Issues contain refereed articles and book reviews on various aspects of the history of the German-speaking world, as well as discussion fora, reflections and review essays. The German History Society Article Prize
  2. International Journal of Community Music publisher: New York University, Steinhardt School of Education language: English start year: 2004 (open access ended 2006) frequency: semiannual peer-reviewed?: yes about: publishes research articles, discussions, and reviews on all aspects of community music; issues published by Intellect after 2006 are not open access
  3. Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter, Ella Fitzgerald, Adelaide Hall, Billie Holiday, Abbey Lincoln, Anita O'Day, Dinah Washington, and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong, trumpeter Valaida Snow, and songwriters Irene Higginbotham and Dorothy Fields. Women began playing instruments in jazz in the early 1920s, drawing particular recognition on piano.[28]
  4. der of "an oppressive and racist society and restrictions on their artistic visions".[22] Amiri Baraka argues that there is a "white jazz" genre that expresses whiteness.[23] White jazz musicians appeared in the midwest and in other areas throughout the U.S. Papa Jack Laine, who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz".[24] The Original Dixieland Jazz Band, whose members were white, were the first jazz group to record, and Bix Beiderbecke was one of the most pro

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Except where otherwise noted, this work is subject to a Creative Commons Attribution 4.0 license. For details and exceptions, see the Library Copyright Policy.In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of the many top players he employed, such as George Brunies, Sharkey Bonano, and future members of the Original Dixieland Jass Band. During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans.[77] Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez. Louis Armstrong started his career in Storyville[78] and found success in Chicago. Storyville was shut down by the U.S. government in 1917.[79] ECHO: A Music-Centered Journal publisher: Department of Musicology, University of California, Los Angeles language: English start year: 1999 frequency: semiannual through 2004, annual to present peer-reviewed?: yes about: an interdisciplinary journal created and edited by graduate students in the Department of Musicology at UCLA; "articles address music in diverse social contexts, and are not confined to any geographically, historically, or methodologically bounded genre"


  1. Journal of Seventeenth-Century Music publisher: Society for Seventeenth-Century Music language: English start year: 1995 frequency: annual peer-reviewed?: yes about: provides a "peer-reviewed forum for scholarly studies of the musical cultures of the seventeenth century"
  2. © 1962-2019 Bauer Media Group Bauer Media Group consists of: Bauer Consumer Media Ltd, Company number: 01176085, Bauer Radio Ltd, Company Number: 1394141 Registered Office: Media House, Peterborough Business Park, Lynch Wood, Peterborough, PE2 6EA H Bauer Publishing, Company Number: LP003328 Registered Office: Academic House, 24-28 Oval Road, London, NW1 7DT. All registered in England and Wales. VAT no 918 5617 01 Bauer Consumer Media Ltd are authorised and regulated by the FCA(Ref No. 710067)
  3. strel show performers in blackface popularized the music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African-American cultures.

Swing in the early 20th century

Jazz von Verve, Emarcy, ECM, Impulse, Concord und Prestige im Überblick. Aktuelle Jazzmusik, News, Termine und Videos zu Künstlern und Musiker aus allen Genres. Besuchen Sie uns High Times March 16, 2020. Washington State Lawmakers Pass Cannabis Social Equity Bill. The bill aims to repair some of the damage done by the War on Drugs. A.J. Herrington March 16, 2020. The. African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza) gained international popularity.[48] Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published."[49] For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music.[49] The use of pentatonic scales was another trend associated with Africa. The use of pentatonic scales in Africa probably goes back thousands of years.[156] Usually such music was associated with annual festivals, when the year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheein-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from the period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War.[38]

The Journal Hosting Program integrates current journals with archival journals and ebooks on JSTOR. Institutions may subscribe to single titles, discounted publisher packages, or the discounted Journal Hosting Legacy Collection. Please visit Fees & Classifications or email px@ithaka.org for detailed information about JSTOR's fees and. Empirical Musicology Review publisher: Ohio State University Library language: English start year: 2006 frequency: quarterly peer-reviewed?: yes about: aims to facilitate communication and debate between scholars engaged in systematic and observation-based music scholarship Get the latest news on African-American culture. EBONY features exclusive stories on Entertainment, News, Love and much more Zeitschrift für Anglistik und Amerikanistik (ZAA) is a peer-reviewed journal that traditionally reflects the entire spectrum of English and American language, literature and culture.Particular attention will also be paid to the new literatures in English, the development of linguistic varieties outside Britain and North America, the culture of ethnic minorities and the relationship between.

JAZZTHETIK - Magazin für Jazz und Andere

Description: Established in 1942 by the American Society for Aesthetics, The Journal of Aesthetics and Art Criticism publishes current research articles, special issues, and timely book reviews in aesthetics and the arts. The term aesthetics, in this connection, is understood to include all studies of the arts and related types of experience from a philosophical, scientific, or other. Rondo - Das Klassik- und Jazzmagazin. Mit wöchentlich aktualisierter Neuerscheinungsübersicht und Fernsehprogramm (Klassik und Jazz) News, Nachrichten und aktuelle Meldungen aus allen Ressorts. Politik, Wirtschaft, Sport, Feuilleton und Finanzen im Überblick

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Ethnomusicology Review publisher: UCLA Department of Ethnomusicology language: English start year: 2011 frequency: annual peer-reviewed?: yes about: established as Pacific Review of Ethnomusicology in 1984, Ethnomusicology Review is the graduate student publication of the UCLA Department of Ethnomusicology that is edited by graduate students and refereed by a faculty advisory board.  Articles are written from a variety of perspectives including ethnomusicology, musicology, anthropology, sociology and cultural studies.  Issues originally published only in print, starting with volume 1 in 1984 through to 2010, have also been made availableAnother influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals.[39] The origins of the blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic, rural blues and early jazz "was largely based on concepts of heterophony."[40] TANTNER, Anton: Swing und jugedliche Jazz-Subkulturen. In: ZeitRaum. Zeitschrift für historische Vielfalt. Jg 2, Nr. 2, 1995, s. 40-57; Externí odkazy. Potápky, páskové, chuligáni - textový přepis; Koura Petr, Swingová mládež a okupační moc v protektorátu Čechy a Morava disertační práce 200

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  1. British Postgraduate Musicology publisher: British Postgraduate Musicology language: English start year: 1997 frequency: annual peer-reviewed?: yes about: a journal run by postgraduates for postgraduates; it began as a print publication in 1997 and moved online in 2001
  2. Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to jazz piano, and could perform pieces in either style; in 1938, Morton made a series of recordings for the Library of Congress in which he demonstrated the difference between the two styles. Morton's solos, however, were still close to ragtime, and were not merely improvisations over chord changes as in later jazz, but his use of the blues was of equal importance.
  3. Gillespie's collaboration with Pozo brought specific African-based rhythms into bebop. While pushing the boundaries of harmonic improvisation, cu-bop also drew from African rhythm. Jazz arrangements with a Latin A section and a swung B section, with all choruses swung during solos, became common practice with many Latin tunes of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of "Manteca", "A Night in Tunisia", "Tin Tin Deo", and "On Green Dolphin Street".
  4. ed the development of sacred jazz in the 1950s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the 1950s to produce a new genre, "sacred jazz."[166] Versace maintained that that the religious intent separates sacred from secular jazz. Most pro

Acoustic Classic: Bob Dylan and Johnny Cash's take on Just a Closer Walk with Thee How I Learned to Make Guitars: Eight Modern Luthiers on the Origins of Their Craft. 10th Anniversary Guitar Collection Back from the Shop. BY DAVID A. LUSTERMAN It turns out you can fit 12 hard guitar cases in the back of a Volvo XC70 and still see out. In 1969, Davis fully embraced the electric instrument approach to jazz with In a Silent Way, which can be considered his first fusion album. Composed of two side-long suites edited heavily by producer Teo Macero, this quiet, static album would be equally influential to the development of ambient music. Джаз (англ. jazz) —XIX гасыр ахырында - XX гасыр башында Африка һәм Аурупа мәдәниятләре синтезы нәтиҗәсендә килеп туган музыкаль сәнгать төре. Джазның музыкаль теле төп үзенчәлеге булып импровизация, синкопир.

Muzikologija publisher: Serbian Academy of Sciences and Arts - Institute of Musicology language: primarily English, German, and Serbian start year: 2001 frequency: annual peer-reviewed?: yes about: much of the content focuses on Serbian music, but topics cover all genres and periods; volumes 2 to present available at the link provided, all volumes available hereAcid jazz developed in the UK in the 1980s and 1990s, influenced by jazz-funk and electronic dance music. Acid jazz often contains various types of electronic composition (sometimes including Sampling (music) or a live DJ cutting and scratching), but it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. Richard S. Ginell of AllMusic considers Roy Ayers "one of the prophets of acid jazz."[182] Afro-Creole pianist Jelly Roll Morton began his career in Storyville. Beginning in 1904, he toured with vaudeville shows to southern cities, Chicago, and New York City. In 1905, he composed "Jelly Roll Blues", which became the first jazz arrangement in print when it was published in 1915. In introduced more musicians to the New Orleans style.[81] Since the 1960s, creative centers of jazz in Europe have developed, such as the creative jazz scene in Amsterdam. Following the work of drummer Han Bennink and pianist Misha Mengelberg, musicians started to explore by improvising collectively until a form (melody, rhythm, a famous song) is found Jazz critic Kevin Whitehead documented the free jazz scene in Amsterdam and some of its main exponents such as the ICP (Instant Composers Pool) orchestra in his book New Dutch Swing. Since the 1990s Keith Jarrett has defended free jazz from criticism. British writer Stuart Nicholson has argued European contemporary jazz has an identity different from American jazz and follows a different trajectory.[146]

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Current Research in Jazz publisher: Current Research in Jazz language: English start year: 2009 frequency: annual volumes, with content added as it becomes available peer-reviewed?: yes about: "in addition to shorter articles of a scholarly nature, it publishes bibliographies, indices, chronologies, and other research aids to serve and support jazz scholarship"The general consensus among musicians and musicologists is that the first original jazz piece to be overtly based in clave was "Tanga" (1943), composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans in New York City. "Tanga" began as a spontaneous descarga (Cuban jam session), with jazz solos superimposed on top.[131] The first major stirrings came in the 1950s with the early work of Ornette Coleman (whose 1960 album Free Jazz: A Collective Improvisation coined the term) and Cecil Taylor. In the 1960s, exponents included Albert Ayler, Gato Barbieri, Carla Bley, Don Cherry, Larry Coryell, John Coltrane, Bill Dixon, Jimmy Giuffre, Steve Lacy, Michael Mantler, Sun Ra, Roswell Rudd, Pharoah Sanders, and John Tchicai. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. In November 1961, Coltrane played a gig at the Village Vanguard, which resulted in the classic Chasin' the 'Trane, which Down Beat magazine panned as "anti-jazz". On his 1961 tour of France, he was booed, but persevered, signing with the new Impulse! Records in 1960 and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably Archie Shepp, who often played with trumpeter Bill Dixon, who organized the 4-day "October Revolution in Jazz" in Manhattan in 1964, the first free jazz festival. The 1980s saw something of a reaction against the fusion and free jazz that had dominated the 1970s. Trumpeter Wynton Marsalis emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by artists such as Louis Armstrong and Duke Ellington, as well as the hard bop of the 1950s. It is debatable whether Marsalis' critical and commercial success was a cause or a symptom of the reaction against Fusion and Free Jazz and the resurgence of interest in the kind of jazz pioneered in the 1960s (particularly modal jazz and post-bop); nonetheless there were many other manifestations of a resurgence of traditionalism, even if fusion and free jazz were by no means abandoned and continued to develop and evolve. you're want to buy Brigitte Edition: Jazz For Dinner,yes.! you comes at the right place. you can get special discount for Brigitte Edition: Jazz For Dinner.You can choose to buy a product and Brigitte Edition: Jazz For Dinner at the Best Price Online with Secure Transaction Here..

History, Time, and Lived Experience in Toni Morrison's

Journal of Music History Pedagogy publisher: Pedagogy Study Group of the American Musicological Society language: English start year: 2010 frequency: semiannual peer-reviewed?: yes about: is "dedicated to the publication of original articles and reviews related to teaching music history of all levels (undergraduate, graduate, or general studies) and disciplines (western, non-western, concert and popular musics)"Ellington called his music American Music, rather than jazz, and liked to describe those who impressed him as "beyond category."[112] These included many musicians from his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most popular jazz orchestras in the history of jazz. He often composed for the style and skills of these individuals, such as "Jeep's Blues" for Johnny Hodges, "Concerto for Cootie" for Cootie Williams (which later became "Do Nothing Till You Hear from Me" with Bob Russell's lyrics), and "The Mooche" for Tricky Sam Nanton and Bubber Miley. He also recorded songs written by his bandsmen, such as Juan Tizol's "Caravan" and "Perdido", which brought the "Spanish Tinge" to big-band jazz. Several members of the orchestra remained with him for several decades. The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity.[113]

Style Weekly's mission is to provide smart, witty and tenacious coverage of Richmond. Our editorial team strives to reveal Richmond's true identity through unflinching journalism, incisive writing. voiceXchange publisher: University of Chicago, Dept. of Music language: English start year: 2004 frequency: irregular peer-reviewed?: yes about: published by graduate students in the University of Chicago's Department of Music; welcomes musical scholarship that reaches across the field's subdisciplinesThe publication of his "Memphis Blues" sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"[72]). This composition, as well as his later "St. Louis Blues" and others, included the habanera rhythm,[73] and would become jazz standards. Handy's music career began in the pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music.

Quizlet makes simple learning tools that let you study anything. Start learning today with flashcards, games and learning tools — all for free A number of players who usually perform in largely straight-ahead settings have emerged since the 1990s, including pianists Jason Moran and Vijay Iyer, guitarist Kurt Rosenwinkel, vibraphonist Stefon Harris, trumpeters Roy Hargrove and Terence Blanchard, saxophonists Chris Potter and Joshua Redman, clarinetist Ken Peplowski and bassist Christian McBride.

As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and Lonnie Johnson, who visited Europe during and after World War I. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time.[114] The beginnings of a distinct European style of jazz began to emerge in this interwar period. Robert Schumann Facts. Robert Schumann (1810 - 1856) was one of the 19 th century's most influential composers. During his lifetime, Schumann brought about a change in the general world of music, helping to champion the rights of young and upcoming musicians New Orleans brass bands are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whilst helping black children escape poverty. The leader of New Orleans' Camelia Brass Band, D'Jalma Ganier, taught Louis Armstrong to play trumpet; Armstrong would then popularize the New Orleans style of trumpet playing, and then expand it. Like Jelly Roll Morton, Armstrong is also credited with the abandonment of ragtime's stiffness in favor of swung notes. Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz and broadened the jazz solo vocabulary.[87]

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Reporting, Profiles, breaking news, cultural coverage, podcasts, videos, and cartoons from The New Yorker Neue Zeitschrift für Musik, Volume 100 Snippet view - 1933. Neue Zeitschrift für Musik Harry Kupfer heute hören Improvisation Information Instrumente Insz Inszenierung Internationale Interpreten ISBN Jahre Jahrhunderts Jazz Juli Juni Kammermusik Klang Klarinette Klavier Kompo Komponieren komponiert Komponisten Komposition konnte Konzert.

Swing in the 1920s and 1930s

Two contributors to In a Silent Way also joined organist Larry Young to create one of the early acclaimed fusion albums: Emergency! by The Tony Williams Lifetime. www.cadencejazzmagazine.co

The influence of Duke Ellington

According to jazz writer Stuart Nicholson, "just as free jazz appeared on the verge of creating a whole new musical language in the 1960s ... jazz-rock briefly suggested the promise of doing the same" with albums such as Williams' Emergency! (1970) and Davis' Agharta (1975), which Nicholson said "suggested the potential of evolving into something that might eventually define itself as a wholly independent genre quite apart from the sound and conventions of anything that had gone before." This development was stifled by commercialism, Nicholson said, as the genre "mutated into a peculiar species of jazz-inflected pop music that eventually took up residence on FM radio" at the end of the 1970s.[173] Full text of Zeitschrift für Sozialforschung 9. Jg See other formats. Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer Ernest Hogan, whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley".[59][60] Also in 1897, the white composer William Krell published his "Mississippi Rag" as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. EURASIP Journal on Audio, Speech, and Music Processing publisher: Springer language: English start year: 2007 frequency: annual volumes, with content added as it becomes available peer-reviewed?: yes about: an interdisciplinary journal for the dissemination of all basic and applied aspects of speech communication and audio processesResearch and Issues in Music Education (RIME) publisher: University of St. Thomas language: English start year: 2003 frequency: annual peer-reviewed?: yes about: purpose is "to provide a forum devoted to thorough research and commentary that energizes, informs, advances, and reforms the practice and pedagogy of music teaching"

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Fender American Ultra Jazz Bass and Precision Bass review. By Stuart Clayton . Yet more Fender P and J variants, you say? Let's take an in-depth look at the new flagship Ultra Series from the Big F Tech 21 Steve Harris SH-1 SansAmp review. By Bass Player Staff JazzZeitung. 1,768 likes · 15 talking about this. Impressum: JazzZeitung, c/o ConBrio Verlagsgesellschaft, Brunnstr. 23, 93053 Regensburg, Tel. 0941/945930, gaisa(a. The following example shows the original ostinato "Afro Blue" bass line. The cross noteheads indicate the main beats (not bass notes). Other innovators in this style include Jackie McLean,[144] and two of the musicians who had also played on Kind of Blue: John Coltrane and Bill Evans. In the late 1940s, there was a revival of Dixieland, harking back to the contrapuntal New Orleans style. This was driven in large part by record company reissues of jazz classics by the Oliver, Morton, and Armstrong bands of the 1930s. There were two types of musicians involved in the revival: the first group was made up of those who had begun their careers playing in the traditional style and were returning to it (or continuing what they had been playing all along), such as Bob Crosby's Bobcats, Max Kaminsky, Eddie Condon, and Wild Bill Davison.[137] Most of these players were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second group of revivalists consisted of younger musicians, such as those in the Lu Watters band, Conrad Janis, and Ward Kimball and his Firehouse Five Plus Two Jazz Band. By the late 1940s, Louis Armstrong's Allstars band became a leading ensemble. Through the 1950s and 1960s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.[137]

Harry Connick Jr. began his career playing stride piano and the dixieland jazz of his home, New Orleans, beginning with his first recording when he was ten years old.[194] Some of his earliest lessons were at the home of pianist Ellis Marsalis.[195] Connick had success on the pop charts after recording the soundtrack to the movie When Harry Met Sally, which sold over two million copies.[194] Crossover success has also been achieved by Diana Krall, Norah Jones, Cassandra Wilson, Kurt Elling, and Jamie Cullum. A musical instrument is used to make musical sounds.Once humans moved from making sounds with their bodies — for example, by clapping—to using objects to create music from sounds, musical instruments were born. Primitive instruments were probably designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the artistic pursuit of. A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities".[15] Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition".[16] In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music."[17] Coleman's audience decreased, but his music and concepts influenced many musicians, according to pianist Vijay Iver and critic Ben Ratlifff of The New York Times.[189][190]

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Das letzte Känguru – Täuschung – Jazz thing & Blue Rhythm

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Video: Zeitschrift für Anglistik und Amerikanisti

The music of New Orleans had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums.[74] Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville.[75] In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals). The instruments used by marching bands and dance bands became the instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Creole and African-American musicians played in vaudeville shows which carried jazz to cities in the northern and western parts of the U.S.[76] ... until around 1967, the worlds of jazz and rock were nearly completely separate. [However, ...] as rock became more creative and its musicianship improved, and as some in the jazz world became bored with hard bop and did not want to play strictly avant-garde music, the two different idioms began to trade ideas and occasionally combine forces.[170]An excerpt of "New Orleans Blues" is shown below. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo.

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Most people choose to listen to music that they prefer or 'like' such as classical, country or rock. Previous research has focused on how different characteristics of music (i.e., classical. In early Dixieland, a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies. In the swing era of the 1920s–'40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the song was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the song structure and complement the soloist.[20] In avant-garde and free jazz, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. George Antheil (/ ˈ æ n t aɪ l /; July 8, 1900 - February 12, 1959) was an American avant-garde composer, pianist, author, and inventor whose modernist musical compositions explored the modern sounds - musical, industrial, and mechanical - of the early 20th century

Jazzpodium Verlag Seit 69 Jahren am Mark

Carlson, Stephen C. 'For Sinai is a Mountain in Arabia': A Note on the Text of Galatians 4,25. Zeitschrift für die neutestamentliche Wissenschaft und die Kunde der älteren Kirche. 105:1 (2014): 80-101. Carlson, Stephen C. The Text of Galatians and Its History. (Wissenschaftliche Untersuchungen Zum Neuen Testament 2.Reihe) This was the birth of Afro-Cuban jazz. The use of clave brought the African timeline, or key pattern, into jazz. Music organized around key patterns convey a two-celled (binary) structure, which is a complex level of African cross-rhythm.[132] Within the context of jazz, however, harmony is the primary referent, not rhythm. The harmonic progression can begin on either side of clave, and the harmonic "one" is always understood to be "one". If the progression begins on the "three-side" of clave, it is said to be in 3–2 clave (shown below). If the progression begins on the "two-side", it is in 2–3 clave.[133] In 1924, Louis Armstrong joined the Fletcher Henderson dance band for a year, as featured soloist. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young Coleman Hawkins), sounded "stiff, stodgy," with "jerky rhythms and a grey undistinguished tone quality."[108] The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by George W. Meyer and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924).[109] Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his Hot Five band, where he popularized scat singing.[110] Na een zoektocht van meer dan 2 jaar komt Tramp Records met het volgende deel in de reis naar soulvolle jazz, folk en funk uit de jaren '70. Op deze nieuwe compilatie staan 17 tracks die dateren van het einde van de jaren '60 tot het begin van de jaren '80. En het merendeel ervan is afkomstig van kleine.

Music & Anthropology: Journal of Musical Anthropology of the Mediterranean publisher: Fondazione Levi, Venice, Italy language: English, with some content also available in Italian start year: 1996 frequency: annual peer-reviewed?: yes about: an interdisciplinary journal serving as a "forum for studies which approach music as an essentially human and social expression" KULTUR ERLESEN! JAZZ'N'MORE - Das Schweizer Jazz & Blues Magazin erscheint sechs mal im Jahr mit den aktuellsten News, Reviews und Previews, den besten Schweizer und Internationalen Personal-Storys und Interviews, sowie informativen CD-Rezensionen, ausgewählten Konzerttipps, Fernseh- und Rad Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form".[15] Traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles.[21] By avoiding the creation of norms, jazz allows avant-garde styles to emerge.[15] Zeitschrift Fox auf 78; Webers Gramophone Page; Weimar Rundfunk offers European Jazz, Swing, Hot Dance from the 20s, 30s and 40s with online radio broadcast; TRIANGEL - Das Radio zum Lesen (MDR-Kultur) Birgit Lotz Verlag, publisher of Deutsche Nationaldiscographie; Cylinder Preservation and Digitization Project, University of California Santa. With the rise of bebop and the end of the swing era after the war, jazz lost its cachet as pop music. Vocalists of the famous big bands moved on to being marketed and performing as solo pop singers; these included Frank Sinatra, Peggy Lee, Dick Haymes, and Doris Day.[121] Older musicians who still performed their pre-war jazz, such as Armstrong and Ellington, were gradually viewed in the mainstream as passé. Other younger performers, such as singer Big Joe Turner and saxophonist Louis Jordan, who were discouraged by bebop's increasing complexity pursued more lucrative endeavors in rhythm and blues, jump blues, and eventually rock and roll.[119] Some, including Gillespie, composed intricate yet danceable songs for bebop musicians in an effort to make them more accessible, but bebop largely remained on the fringes of American audiences' purview. "The new direction of postwar jazz drew a wealth of critical acclaim, but it steadily declined in popularity as it developed a reputation as an academic genre that was largely inaccessible to mainstream audiences", Burchett said. "The quest to make jazz more relevant to popular audiences, while retaining its artistic integrity, is a constant and prevalent theme in the history of postwar jazz."[119] During its swing period, jazz had been an uncomplicated musical scene; according to Paul Trynka, this changed in the post-war years:

Jazz Musi

In the early 1940s, bebop-style performers began to shift jazz from danceable popular music toward a more challenging "musician's music". The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal. Jazz and Paradise both situate literary 'truth' in the sentient dynamic of the reading experience. Following the claim of phenomenological theory that perception is always a kind of action in which the world appears afresh from the perspective of [] 'lived' experience (Chaplin, A.D. [2002]. Zeitschrift für Anglistik und. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader,[12] defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music"[13] and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician".[12] In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".[14] Find the perfect audience for your poems, stories, essays, and reviews by researching over one thousand literary magazines. In the Literary Magazines database you'll find editorial policies, submission guidelines, contact information—everything you need to know before submitting your work to the publications that share your vision for your work When male jazz musicians were drafted during World War II, many all-female bands replaced them.[28] The International Sweethearts of Rhythm, which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO, touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson. Beginning in the 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women.[29]

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Car news, reviews, opinion and features from Autocar - the world's oldest car publication bringing you everything automotive since 189 Jazz Alben CD Empfehlungen der jazz-fun.de redaktion Um die Webseite optimal gestalten und fortlaufend verbessern zu können, verwendet Jazz-Fun.de Cookies. Durch die weitere Nutzung der Webseite stimmen Sie der Verwendung von Cookies zu Latin jazz is jazz that employs Latin American rhythms and is generally understood to have a more specific meaning than simply jazz from Latin America. A more precise term might be Afro-Latin jazz, as the jazz subgenre typically employs rhythms that either have a direct analog in Africa or exhibit an African rhythmic influence beyond what is ordinarily heard in other jazz. The two main categories of Latin jazz are Afro-Cuban jazz and Brazilian jazz. English post-punk/new wave rock band founded in 1977 in Manchester by Howard Devoto after leaving Buzzcocks and disbanded in 1981. They reformed in 2009. Wikipedia, Facebook. Barry Adamson, Ben Mandelson, Dave Tomlinson, Howard Devoto, John Doyle, John McGeoch, Jonathan White, Martin Jackson, Norman Fisher-Jones, Paul Spencer (5), Robin Simon

Aquarelle mit Laternenkinder in der Zeitschrift Palette

Frankfurter Zeitschrift für Musikwissenschaft publisher: Frankfurter Zeitschrift für Musikwissenschaft language: German, with occasional English start year: 1998 (end 2011) frequency: annual peer-reviewed?: yes about: a now-defunct musicology journal containing articles, reviews, and reports not limited to any particular theme; an archive of its volumes are accessible at the website of its continuation, European Journal of Musicology MESSA play evoking doom metal with a dark jazz twist. Deliciously haunting female vocals, rhodes piano and 70s fuzz guitars combine to conjure a sound that is all of their own. Blending influences like Windhand, Jex Thoth and Bohren Und Der Club Of Gore, the Italian band has evolved from the droning occult doom sound of their first album. Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. In 1918, Paul Whiteman and his orchestra became a hit in San Francisco. He signed a contract with Victor and became the top bandleader of the 1920s, giving hot jazz a white component, hiring white musicians such as Bix Beiderbecke, Jimmy Dorsey, Tommy Dorsey, Frankie Trumbauer, and Joe Venuti. In 1924, Whiteman commissioned George Gershwin's Rhapsody in Blue, which was premiered by his orchestra. Jazz began to be recognized as a notable musical form. Olin Downes, reviewing the concert in The New York Times, wrote, "This composition shows extraordinary talent, as it shows a young composer with aims that go far beyond those of his ilk, struggling with a form of which he is far from being master. ... In spite of all this, he has expressed himself in a significant and, on the whole, highly original form. ... His first theme ... is no mere dance-tune ... it is an idea, or several ideas, correlated and combined in varying and contrasting rhythms that immediately intrigue the listener."[105] Jazz is a music genre that originated in the African-American communities of New Orleans, United States.[1] It originated in the late 19th and early 20th centuries, and developed from roots in blues and ragtime.[2] Jazz is seen by many as "America's classical music".[3] Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression. It then emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation.[4] Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music.[5] Intellectuals around the world have hailed jazz as "one of America's original art forms".[6] The origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a slang term dating back to 1860 meaning "pep, energy".[7] The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you simply can't do anything with it".[7]

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Jazz eller jass er ein opphavleg amerikansk musikksjanger. Stilmessig er den ein blanding av tradisjonell afrikansk og tradisjonell europeisk musikk, og er kjenneteikna av blå tonar, polyrytmikk, improvisasjon, synkope og swingtime.. Frå den tidlege utviklinga og fram til i dag har jazz òg innlemma amerikansk populærmusikk frå 1800- og 1900-talet. Ordet jazz starta som eit slanguttrykk av. Џез (енгл. jazz) музички је жанр који је настао у афро-америчким заједницама Њу Орлеанса у САД у касном 19. и раном 20. веку, и развио се из корена у блузу и регтајму. Од доба џеза из 1920-их, џез је почео да бива препознат као. Music Theory Online publisher: Society for Music Theory language: English start year: 1993 frequency: varies - four to six times a year peer-reviewed?: yes about: provides articles, commentaries, reports, book reviews, and announcements of conferences, job vacancies, and new dissertationsAce songwriter on a favourite singer, who gets the full MOJO Interview treatment in latest MOJO magazine. Zehn Mal im Jahr liefert das Jazz Podium auf 84 Seiten Musiker- und Bandporträts, Interviews, Festival- und Konzertberichte, Essays zu Jazzgeschichte und Jazztheorie, Jazz-News und rund 70 CD-, LP-, DVD- sowie Buchbesprechungen, dazu einen Veranstaltungskalender mit Konzert-, Festival- und Workshopterminen

Theodor W. Adorno was a German sociologist, philosopher, psychologist, composer, and music critic. He was a notable member of the 'Frankfurt School' of critical theory. Adorno is widely regarded as one of the 20th century's most distinguished aesthetic thinkers and philosophers User Modeling and User-Adapted Interaction provides an interdisciplinary forum for the dissemination of novel and significant original research results about interactive computer systems that can adapt themselves to their users, and on the design, use, and evaluation of user models for adaptation. The journal publishes high-quality original papers from, e.g., the following areas Anuario Musical publisher: Consejo Superior de Investigaciones Cientificas language: Spanish, English, French, German, Italian, Portuguese, Catalan start year: 2001 frequency: annual peer-reviewed?: yes about: a journal that investigates all areas of musicologyLavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843.[37] There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Bee Appleseed, who has a decade's worth of touring and lo-fi bootleg folk recordings under his belt, returns with his sophomore solo effort, a coming-of-age in songcraft and lyricism that Read more. February 10, 2020. Nashville's Songwriting Sweethearts: The Boudleaux and Felice Bryant Story. Even before I could read, I was fascinated.

Nota Bene: Canadian Undergraduate Journal of Musicology publisher: Western University, Canada language: English start year: 2008 frequency: annual peer-reviewed?: yes about: "seeks to publish essays of a high critical and rhetorical standard, written by undergraduate students from universities around the world.  Essays in historical musicology, ethnomusicology, popular music studies, music theory, and interdisciplinary subjects with a focus on the above are invited"This style entered full swing in France with the Quintette du Hot Club de France, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two.[116] Belgian guitarist Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall "musette", and Eastern European folk with a languid, seductive feel; the main instruments were steel stringed guitar, violin, and double bass. Solos pass from one player to another as guitar and bass form the rhythm section. Some researchers believe Eddie Lang and Joe Venuti pioneered the guitar-violin partnership characteristic of the genre,[117] which was brought to France after they had been heard live or on Okeh Records in the late 1920s.[118]

Extract (b Zwickau, Saxony, June 8, 1810; d Endenich, nr Bonn, July 29, 1856).German composer and music critic. While best remembered for his piano music and songs, and some of his symphonic and chamber works, Schumann made significant contributions to all the musical genres of his day and cultivated a number of new ones as well John Zorn took note of the emphasis on speed and dissonance that was becoming prevalent in punk rock, and incorporated this into free jazz with the release of the Spy vs. Spy album in 1986, a collection of Ornette Coleman tunes done in the contemporary thrashcore style.[185] In the same year, Sonny Sharrock, Peter Brötzmann, Bill Laswell, and Ronald Shannon Jackson recorded the first album under the name Last Exit, a similarly aggressive blend of thrash and free jazz.[186] These developments are the origins of jazzcore, the fusion of free jazz with hardcore punk. LED ZEPPELIN LATTER DAYS 1974-2019 is the second of two deluxe bookazines bringing together MOJO's finest writing on the gods of heavy rock. Low set a high bar at the boutique Dorset gathering for fans of alt., folk, psych, etc

Mario Bauzá introduced bebop innovator Dizzy Gillespie to Cuban conga drummer and composer Chano Pozo. Gillespie and Pozo's brief collaboration produced some of the most enduring Afro-Cuban jazz standards. "Manteca" (1947) is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Chano] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but ... I had to keep going and ended up writing a sixteen-bar bridge."[134] The bridge gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauza's modal "Tanga" of a few years earlier. An Jazz amo an usa ka musika nga arte nga may gintikangan ha ika 20 siglo ha Aprikano-Amerikano nga komunidad ha Salatan Estados Unidos nga may impluwensya ha tradisyon musika han Aprika nga Europeyo. Pinanbasaran. Mga reperensya External links. An Wikimedia Commons mayda media nga.

This is a list of journals in Classics that have a substantial on-line presence. These journals are not published by the SCS, but represent the vitality and diversity of the classicist's disciplines in a new medium. Please note that clicking on these links will launch a new window. Online works in progres Inbhear: Journal of Irish Music and Dance publisher: Irish World Academy of Music and Dance language: English and Irish start year: 2010 frequency: annual peer-reviewed?: yes about: focuses on the performance practices of music and dance in Ireland, currently and historicallyThe 1950s saw the emergence of free jazz, which explored playing without regular meter, beat and formal structures, and in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues, gospel, and blues, especially in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 2000s, such as Latin and Afro-Cuban jazz. JSMI: Journal of the Society for Musicology in Ireland publisher: Society for Musicology in Ireland language: English start year: 2005 frequency: annual peer-reviewed?: yes about: exists to promote Irish musicological scholarship, including topics concerning Ireland and its music, as well as articles by Irish authors or authors based in Ireland WOM - World of Music - Musik-CDs und -DVDs; Pop/Rock Bravo Hits 109. Pop/Rock Jazz Classic Filme Hörbücher Nach Verkaufsrang sortiert 1 / 2 55 Fifty Five. Live In Berlin 2009. 2 CDs EUR 9,99* 55 Fifty Five. Live In Berlin 2009. 2 CDs, DVD.

Bebop musicians employed several harmonic devices which were not previously typical in jazz, engaging in a more abstracted form of chord-based improvisation. Bebop scales are traditional scales with an added chromatic passing note;[126] bebop also uses "passing" chords, substitute chords, and altered chords. New forms of chromaticism and dissonance were introduced into jazz, and the dissonant tritone (or "flatted fifth") interval became the "most important interval of bebop"[127] Chord progressions for bebop tunes were often taken directly from popular swing-era songs and reused with a new and more complex melody and/or reharmonized with more complex chord progressions to form new compositions, a practice which was already well-established in earlier jazz, but came to be central to the bebop style. Bebop made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but often infused with ii-V motion) and 'rhythm changes' (I-VI-ii-V) – the chords to the 1930s pop standard "I Got Rhythm". Late bop also moved towards extended forms that represented a departure from pop and show tunes. These divergences from the jazz mainstream of the time met a divided, sometimes hostile response among fans and musicians, especially swing players who bristled at the new harmonic sounds. To hostile critics, bebop seemed filled with "racing, nervous phrases".[130] But despite the friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. Journal of Music Research Online publisher: Music Council of Australia language: English start year: 2009 frequency: annual volumes, with content added as it becomes available peer-reviewed?: yes about: publishes articles in the areas of composition, early music, ethnomusicology, gender studies in music, interdisciplinary studies in music, music education, music technologies, musicology, performance practice, and popular musicThe harmonic development in bebop is often traced back to a moment experienced by Charlie Parker while performing "Cherokee" at Clark Monroe's Uptown House, New York, in early 1942. "I'd been getting bored with the stereotyped changes that were being used...and I kept thinking there's bound to be something else. I could hear it sometimes. I couldn't play it...I was working over 'Cherokee,' and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive."[128] Gerhard Kubik postulates that harmonic development in bebop sprang from blues and African-related tonal sensibilities rather than 20th-century Western classical music. "Auditory inclinations were the African legacy in [Parker's] life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices."[128] Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery.[55] Although the pattern is only half a clave, Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz.[56]

Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif (1803).[50] From the perspective of African-American music, the "habanera rhythm" (also known as "congo"),[50] "tango-congo",[51] or tango.[52] can be thought of as a combination of tresillo and the backbeat.[53] The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired the use of tresillo-based rhythms in African-American music. Basketball NBA (USA) 2019/2020 - Magazin - umfassend und aktuell: Zum Thema Basketball NBA (USA) 2019/2020 findest Du Magazin, Aktuelle Ergebnisse, Tabelle, Spielplan, Teams, Historie, Ewige. Popular Musicology Online publisher: University of Salford, Department of Music and University of Oslo, Department of Music and Theatre language: English start year: 2000 frequency: content is added irregularly, without volume or issue numbers peer-reviewed?: yes about: PMO is the online successor to Popular Musicology Quarterly; articles address a broad range of issues related to popular musicA series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space and Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965).

In June 1965, Coltrane and 10 other musicians recorded Ascension, a 40-minute-long piece without breaks that included adventurous solos by young avante-garde musicians as well as Coltrane, and was controversial primarily for the collective improvisation sections that separated the solos. Dave Liebman later called it "the torch that lit the free jazz thing.". After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. Levine points out that the V pentatonic scale works for all three chords of the standard II-V-I jazz progression.[161] This is a very common progression, used in pieces such as Miles Davis' "Tune Up." The following example shows the V pentatonic scale over a II-V-I progression.[162]

Useful links. Jazz flute: The Mark Alban Lotz Discography (pdf) and the Lotz of Music homepage. Phonoraphische Zeitschrift Finnish Institute of Recorded Sound Viola (Finnish Music Database) The Jazz Discography by Tom Lord (100 years of jazz on one CD-ROM) Phonographe et Gramophone. Music + Practice publisher: Norwegian Academy of Music language: English start year: 2013 frequency: annual peer-reviewed?: yes about: dedicated to the study of practices in music.  the journal is also concerned with the interplay between techniques, competencies, technologies, aesthetics and practices, and further, how historical, social, intellectual, and cultural contexts relate to practices Nobelpreis für Literatur 1993: Toni Morrison, Jazz.Lachen am Zürichsee: Coron Verlag, 1994 (Nr. 88 in der Coron-Reihe für den Kreis der Nobelpreisfreunde); includes essays by Daniela Marquardt, pp. 11-23, and Paul Ingendaay, pp. 45-60 EUNOMIOS publisher: Eunomios language: primarily English start year: 2000 frequency: content is added irregularly, without volume or issue numbers peer-reviewed?: no about: "hosts user-contributed papers on topics concerning theory, analysis, and semiotics of music" Frank Sinatra Metronome magazine November 1950.JPG 1,112 × 1,143; 554 KB Jo Stafford Metronome cover 1948.JPG 1,233 × 1,098; 595 KB Metronome January 1946.JPG 841 × 1,106; 284 K Revista Musical Chilena publisher: Universidad de Chile, Facultad de Artes - Departamento de Música language: Spanish start year: 1996 frequency: semiannual peer-reviewed?: yes about: aims to promote awareness of and foster research of Chilean music; issues originally published only in print, starting with volume 1 in 1945 through to 1995, have also been made available

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