Jazz an american journey brian harker pdf free download

Never allow the new point goes away from you. Jazz in the Twentieth Century places jazz music within its rich historical and cultural context. The book explains how and why jazz evolved as it did, as it emphasizes chronology, historical cause and effect, and the interactions between music and American history and culture.

Presented from the point of view of the original participants musicians, critics and audiences , the book focuses on the music with thirty-five recorded examples that are accompanied by a listening chart, commentary and analysis all to provides a more vivid setting for jazz, that grounds it in the time, place and worldview of its creators. The author examines the development of jazz including its origins ca. For those interested in a vivid introduction to Jazz.

Presented from the point of view of the original participants musicians, critics, and audiences , the book focuses on the music with fifty-five recorded examples that are accompanied by a listening chart, commentary, and analysis, all to provide a more vivid setting for jazz grounded in the time, place, and worldview of its creators. All rights reserved. This textbook grew out of an assignment I received several years ago to teach a jazz history course for nonmusic majors.

General Education guidelines encouraged teachers to place their subjects within broad humanistic settings, to help students make connections with historical events they may have studied elsewhere, and to reveal cultures relevant to the topic being addressed. When asked if jazz history could be taught in this way, I responded affirmatively. Studying jazz in context uncovers relationships with economics, politics, and other social dimensions, particularly at the site of watershed historical events—the Great Migration of southern blacks to northern cities, World War I and World War II, the Great Depression, the Cold War, the civil rights movement, among others.

Students' understanding of jazz should illuminate many aspects of twentieth-century culture they encounter in other courses. Moreover, the emphasis on context makes it possible to see how social conditions gave birth to musical style. It helps to know, for instance, that the defining paradigms of Booker T. Washington and W E. Du Bois established basic attitudes toward race throughout the century. These attitudes decisively affected the evolution of jazz style, particularly its transformation from entertainment to art.

Such connections can be made all along the line: vaudeville inspired the antic quality of much early jazz, the ability to hire more musicians for less money supported the rise of big bands during the Depression, the drive by American blacks for political freedom in the early sixties found its counterpart in free jazz, and so forth. The conviction that jazz can and should be presented within a vivid historical setting reflects the direction of much jazz scholarship of recent years. But as I began examining materials to use in the class, I realized that few textbooks attempted to provide such a setting.

Most were concerned to present a more or less abstract evolution of musical style, occasionally addressing historical issues, but more often discussing the players and composers from critical perspectives outside the time periods being treated.

Seeing the need for a survey that would tell the story of jazz holistically, situating the music within its natural home in American history and culture, I embarked upon this book. I hope the results of my efforts prove helpful to others who teach jazz in the university as well.

I have organized the book into fifteen-year segments that correspond roughly to fundamental changes in both American society and jazz. Unlimited all-in-one ebooks in one place. Free trial account for registered user. Brittney I dislike writing reviews on books I had a hard time putting it down.

One unique feature of this book is a series of historical maps indicating regions, cities, communities, and venues that proved especially hospitable to jazz. Period photographs, album covers, and cartoons give a visual sense of the attitudes and customs that surrounded the music. Birth and death dates in parentheses mark the first substantive mention of significant figures, and important names and terms are highlighted in the text. Context, of course, has no purpose without a text.

The "text" for this book is a series of fifty-five outstanding jazz recordings collected in an available three-CD set. Most of the recordings are classics in that they represent leading musicians' best or most influential work according to longstanding critical consensus. Indeed, a third of the selections are taken from the now-defunct Smithsonian Collection of Classic Jazz, a widely used anthology before its discontinuance several years ago.

Some of the more recent recordings have not yet had the chance to stand the test of time and thus reflect a more subjective selection process. Some recordings were chosen to represent a particular style; others to strata a historical pattern. For instance, Charlie Barnet's "Cherokee," from the Swing Era, should help prepare students to understand Charlie Parker's "Koko," a modern jazz treatment of the "Cherokee" chord progression.

Many recordings are discussed in detail, and thirty-five are represented visually in a Listening Chart see below. The twenty recordings without listening charts provide students the opportunity to create their own diagrams of the music.

Together, the two anthologies contain sixty-seven outstanding jazz recordings. Because this book is designed for nonmusicians, I have omitted musical notation and overly technical musical analysis. However, the Introduction includes a discussion of musical elements—melody, harmony, rhythm, timbre, texture, dynamics, and form—and establishes a basic vocabulary of musical terms which appear frequently in later chapters.

This book presents the history of jazz in narrative form, emphasizing chronology, cause and effect, and the human dramas that contributed td the shaping of musical style.

As much as possible, I have tried to relate the story of jazz from the point of view of the original participants, often quoting the musicians, critics, promoters, and audiences that lived at the time the music was being made. Occasionally, later critical perspectives are used to show how a particular artist is viewed today or to contrast early and late views of the music.

More typically, I have tried to avoid anachronisms in order to portray the development of jazz as faithfully as possible in historical terms. As an introduction to jazz history, this book is not intended to be a definitive or comprehensive treatment.

Accordingly, I have attempted to do more with less—to discuss fewer musicians in greater detail or within a richer historical context. Less influential musicians are treated in chapters on various styles or movements bebop, cool jazz, hard bop, etc. In keeping with them leading role, black players receive the most attention, but white musicians are not overlooked. The contributions of women to jazz have been limited but powerful within their area of concentration. In order to stimulate the reasons of this publication to review, you should actually know that the background of this book originates from a wonderful writer and specialist publisher.

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It will certainly be so beneficial and fun after that. It helps to know, for instance, that the defining paradigms of Booker T. Washington and W E. Du Bois established basic attitudes toward race throughout the century. These attitudes decisively affected the evolution of jazz style, particularly its transformation from entertainment to art. Such connections can be made all along the line: vaudeville inspired the antic quality of much early jazz, the ability to hire more musicians for less money supported the rise of big bands during the Depression, the drive by American blacks for political freedom in the early sixties found its counterpart in free jazz, and so forth.

The conviction that jazz can and should be presented within a vivid historical setting reflects the direction of much jazz scholarship of recent years. But as I began examining materials to use in the class, I realized that few textbooks attempted to provide such a setting. Most were concerned to present a more or less abstract evolution of musical style, occasionally addressing historical issues, but more often discussing the players and composers from critical perspectives outside the time periods being treated.

Seeing the need for a survey that would tell the story of jazz holistically, situating the music within its natural home in American history and culture, I embarked upon this book. I hope the results of my efforts prove helpful to others who teach jazz in the university as well.

I have organized the book into fifteen-year segments that correspond roughly to fundamental changes in both American society and jazz. Each part begins with a chapter on historical context to introduce the period. Additionally, most chapters open with a brief section on historical and cultural setting. The first part, Origins c. The second part, Early Jazz c. Each chapter has pedagogical aids to further illuminate the subject.

These include Contemporary Voices boxes containing quotations from people who lived during the period in question, boxes titled Great Debates summarizing important controversies among jazz critics and scholars, and Chronology boxes listing influential events—both musical and otherwise—for individual parts.

Other boxes treat record labels, venues, and offstage personalities. One unique feature of this book is a series of historical maps indicating regions, cities, communities, and venues that proved especially hospitable to jazz.

Period photographs, album covers, and cartoons give a visual sense of the attitudes and customs that surrounded the music. Birth and death dates in parentheses mark the first substantive mention of significant figures, and important names and terms are highlighted in the text.

Context, of course, has no purpose without a text. The "text" for this book is a series of fifty-five outstanding jazz recordings collected in an available three-CD set. Most of the recordings are classics in that they represent leading musicians' best or most influential work according to longstanding critical consensus.