Barry Ulanov's A History of Jazz in America PDF
By Barry Ulanov
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Additional resources for A History of Jazz in America
Whether slave or The Negro with free didn't respond to the backbreaking labor of slavery Such music as he created in the cotton fields and a jubilant shout. in the warehouses and on the levees was at the command of his masters. As Duke Ellington put it, in looking back over the history of the music of which he is such a distinguished representative, "At this point we encounter a myth which must be exploded. " reflection or plans best surviving examples of the tations but from railroa^ workers most pitiful of all, the chain gangs.
It represents nothing more than a jazz conversion of the traditional basso ostinato device, the pedal-point or organ-point reiteration of a basic bass line. In boogie-woogie eight beats to the bar are usually emphasized, with single notes or triplets, following the fundamental harmony of the twelve-bar blues form. More conservative than most blues performers, boogie-woogie pianalmost never depart from the original key and usually play in the key of C. Cleverly orchestrated, the obstinate bass suggests the clasists passacaglia form.
But there is never anythat suggests a tune yelled thing in jazz, not even at its most primitive, whatever delicacies of pitch and liberties of hundred a persons; by intonation, there is never a chaotic cacophony such as Gide describes, in which not one of the hundred or so persons sings an exact note. " fuse and drown A comparative analysis of African and American music does not yield clear parallels. For one thing, jazz is a measured music, the structure of which depends upon fixed beats, occurring in rhythmic patterns as unmistakable and immediately identifiable as the pulse of a metronome.
A History of Jazz in America by Barry Ulanov