Music and Dance Jazz Music Movement Discussion

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GurOhlre223

Humanities

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Initial Post Instructions
Choose one of the music or dance movements that you read about this week and at least one work from that movement. Then, address the following:

  • Examine the movement and specific work in relation to historical and political influences of the movement.
  • Identify characteristics of the movement and how the work reflects these characteristics.
  • Include a statement from the artist and one from a critic.
  • Include a link to the lyrics and/or video depending on your choice.

Follow-Up Post Instructions
Respond to at least one peer. Further the dialogue by providing more information and clarification.

Student Sample:

"As the text notes, rap music has its roots in gospel, blues, and shout (Martin 2018). Culturally and historically, this is obviously the case, as rap is part of the evolution of Black social life in the USA. When listening to rap, however, the connection to gospel, blues, and shout in the music itself may not be evident for much of the genre. There is at least one rapper who has made his name by foregrounding this connection in his music over the last 20 years. Kanye West has produced and rapped over beats featuring prominent samples and riffs straight from classic gospel and blues music. His debut album, College Dropout featured a musical production that West himself labeled “neo-soul” in reference to its fresh twist on its explicit soul roots. Ciccariello-Maher writes that West’s sampling of Black soul music mixed with his early 21st century hip-hop lyrics is reminiscent of Du Boisian “double-consciousness”, or, the paradoxical tension felt by Black folks trying to make a way through racism and oppression in the USA. As a Black man in America, West’s humanity is constantly challenged, and yet, in a capitalistic society, West feels the “constant temptation to validate [his] own humanity through conspicuous consumption” (Ciccariello-Maher, 2009, p. 386). It is not West’s vulnerability to this temptation that reveals the continuity with Black gospel and soul music, but his chilling awareness that he is constantly being tempted by the very forces that kill him, which brings a particular poignancy to his samples, production, and rhymes.

While West’s career took many twists and turns, including the tragic death of his top inspiration and mother, Donda, his debut album, College Dropout, may remain his greatest feat. In particular, the song “Family Business”, with its nostalgic sampling of the Dells “Fonky Thang, Diamon' Rang” drives home the heights of Kanye’s musical prowess and innovation of the soul sound. More recently, West has returned to gospel music explicitly, through producing Sunday Service choir songs. Hip-hop, while derided by many critics as an empty, materialistic, vulgar display of ignorance and vulnerability to the temptation of conspicuous consumption, has much deeper roots in the Black freedom struggle. As such, it continues to resonate with all walks of life, with all sorts of people all around the world, who are going through it in their own ways.

Family Business - YouTube (Links to an external site.)

Ciccariello-Maher, G. (2009). A Critique of Du Boisian Reason: Kanye West and the Fruitfulness of Double-Consciousness. Journal of Black Studies, 39(3), 371-401. Retrieved August 4, 2021, from http://www.jstor.org/stable/40282568 (Links to an external site.)

Martin, F. D. (2018). Humanities through the Arts (10th Edition). McGraw-Hill Higher Education (US). https://ambassadored.vitalsource.com/books/9781260154238 "

Unformatted Attachment Preview

David Warner Ellis Redferns/Getty Images Contemporary jazz musicians, such as Wynton Marsalis (Figure 9-19), Diana Krall, Cyrus Chesnut, Esperanza Spalding, the late Geri Allen, Keith Jarrett, Joshua Redman, Christian McBride, Wayne Shorter, and Chuchu Valdés, are all in the tradition of the great improvisational players of the twentieth century. The essence of jazz is improvisation and, to an extent, competition. The early jazz bands often competed with one another in "cutting contests" to see which band was better. Players of the same instruments, such as the saxophone, have sometimes performed onstage in intense competition to help raise the excitement level of the music FIGURE 9-19 Wynton Marsalis opons Jazz Appreciation Month by porforming and locturing at the Kimmel Contor for the Performing Arts. The Grammy Award winner performed with members of the Jazz at Lincoln Center Orchestra. Ricky Fitchett/Zuma Press, Inc./Alamy were "Willie the Weeper," "Wild Man Blues." "Twelfth Street Rag." and "Chicago Breakdown." They were an energetic and exciting band playing the best jazz of the period. Larger orchestras, such as the swing bands of Benny Goodman, Count Basie, Jimmy Lunceford, and Duke Ellington, had to rely less on improvisation and counterpoint and more on ensemble playing. Their music was smoother, more harmonically secure, and less exciting except when a soloist stood for his improvised twelve or twenty-four measures. But even in the big bands, the emphasis on the weak beats (the second and fourth of each measure, and the use of syncopation and the anticipation of the beats helped keep a sense of power and movement in the music, even though it may have been played more or less the same way in concert after concert. Big band music was originally designed for dancing, and the best of the jazz groups kept to that concept. Miles Davis (Figure 9-18 has been compared with Picasso because of his various stylistic periods, from the early bop of the late 1940s to the cool jazz of the 1950s and 1960s and then the rock-fusion jazz of the Bitches Brew album in 1970, which introduced electronic instruments. Charlie Parker, John Coltrane, Herbie Hancock, Ron Carter, Bill Evans, Lee Konitz, Chick Corea, and many more giants of jazz were among the members of Davis's groups, including the late sextet. Sketches of Spain, 1960, arranged by his friend Gil Evans, is an example of Davis's use of folk melodies to produce a classical jazz album. 0 FIGURE 9-18 Miles Davis. ©David Warner Ellis/Redferns/Getty Images Contemporary jazz musicians, such as Wynton Marsalis (Figure 9-19Q), Diana Krall, Cyrus Chesnut, Esperanza Spalding, the late Geri Allen, Keith Jarrett, Joshua Redman, Christian McBride, Wayne Shorter, and Chuchu Valdés, are all in the tradition of the great improvisational players of the twentieth century. The essence of jazz is improvisation and, to an extent, competition. The early jazz bands often competed with one another in "cutting contests" to see which band was better. Players of the same instruments, such as the saxophone, have sometimes performed onstage in intense competition to help raise the excitement level of the music. RRG FIGURE 9-17 Louis Armstrong and the Hot Soven, the dynamic mid-1920s band that made some legendary recordings in 1927. Armstrong is in the middle, playing trumpet. His wife, Lil Hardin, is at the piano. Johnny St. Cyr played banjo, Johnny Dodds clarinet, Baby Dodds drums, John Thomas trombone, and Pete Briggs tuba. The group can be heard at www.redhotjazz.com Q. CJP Jazz Archive/Redferns/Getty Images The hot jazz of the time is marked by an extensive use of the blues scale, a powerful rhythm emphasizing the second and fourth beats of each measure, and a delight in counterpoint ensemble playing and dynamic solos that show off the talent of virtuoso players. The rhythm section was usually drums, piano, and guitar or bass. The horns, trumpet, clarinet, and trombone played most of the melodic material, supplying complex harmonic support while individuals were soloing. Some of their best recorded tunes were "Willie the Weeper," "Wild Man Blues." "Twelfth Street Rag." and "Chicago Breakdown." They were an energetic and exciting band playing the best jazz of the period. Larger orchestras, such as the swing bands of Benny Goodman, Count Basie, Jimmy Lunceford, and Duke Ellington, had to rely less on improvisation and counterpoint and more on ensemble playing. Their music was smoother, more harmonically secure, and less exciting except when a soloist stood for his improvised twelve or twenty-four measures. But even in the big bands, the emphasis on the weak beats (the second and fourth of each measure and the use of syncopation and the anticipation of the beats BLUES AND Jazz: POPULAR AMERICAN MUSIC So far, our emphasis is on classical music because its resources are virtually inexhaustible and its development, over many centuries and continuing today, has reached a pitch of refinement that matches that of painting, architecture, and literature. But other kinds of music in addition to opera, symphonies, and chamber music affect modern listeners. The blues, which developed in the African American communities in the southern United States, has given rise to a wide number of styles—among them jazz, which has become an international phenomenon, with players all over the world. The term "blues" was used early to describe a form of music developed in the black communities in the South, and it seems to describe a range of feelings, although the blues was never a music implying depression or despair. Rather, it implied a soulful feeling as expressed in the blue notes of the scale and in the lyrics of the songs. The music that later developed from the blues is characterized by the enthusiasm of its audiences and the intense emotional involvement that it demands, especially in the great auditoriums and outdoor venues that mark the most memorable concerts seen by thousands of fans The blues evolved into a novel musical form by relying on a slightly different scale with blue notes: C Eb F F# G Bb C. Compare that with the standard C major scale: CDEFGABC. The standard C scale has no sharps or flats, so the blues scale has a totally different feel. If you can play these scales, you will hear how different they are. The structure of the blues is twelve measures with a constant pattern of chord progressions, which is then repeated for another twelve measures. Out of this original pattern, jazz developed in the early years of the twentieth century. Jazz began in New Orleans with the almost mythic figures of Buddy Bolden, the great trumpet player in Lincoln Park in the first years of 1900, and Jelly Roll Morton, who claimed to have single-handedly invented jazz. King Oliver's band in New Orleans was enormously influential, and when New Orleans was "cleaned up” by the U.S. Navy in 1917—drugs and prostitution were forced out of town—jazz moved up the Mississippi River to Chicago, where Louis Armstrong's powerful trumpet dominated jazz for more than a dozen years (Figure 9-17). The large, primarily white society bands, such as Paul Whiteman's Orchestra, introduced jazz to large radio audiences by employing great jazz stars such as Bix Beiderbecke, Jimmy and Tommy Dorsey, Hoagy Carmichael, and Jack Teagarden. Fortunately, all these orchestras recorded widely in the 1920s, and their music can be heard online at any of a number of sources.
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Explanation & Answer

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Music and Dance

Student’s Name
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Music and Dance
Culturally and historically, jazz music has paved its way from West Africa to the North
American continent over the years since slavery, who preserved it when planting the South
American culture. Jazz music evolved from white and black music styles that embraced classical
music and blues rooting from New Orleans. It is said to be the only true American music
transforming into many genres in the American culture like R&B, Rock, Hip-hop, and Pop
music. Jazz has contributed greatly to hip-hop music from its infectious rhythms and intense
melodies, as hip-hop communicates feelings just like jazz. Kendrick...


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