Essential Jazz: The First 100 Years by Henry Martin, Keith Waters
By Henry Martin, Keith Waters
A whole jazz chronology, crucial JAZZ: the 1st a hundred YEARS, 2e, provides a radical and fascinating advent to jazz and American tradition. Designed for nonmajors, this short textual content explores the improvement of jazz from its nineteenth-century roots in ragtime and blues via swing and bebop to fusion and modern jazz types. certain in its up to date assurance, one-third of crucial JAZZ is dedicated to performers of the Nineteen Sixties via present-day performers. The text's versatile association and transparent, attention-grabbing presentation are designed to attract newcomers with very little tune history. available, informative Listening courses supply a wealthy sociocultural context for every choice, giving either beginners and aficionados a real believe for the colourful, ever-changing sound of jazz.
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Additional resources for Essential Jazz: The First 100 Years
Sample text
The electric guitar was developed during the 1930s. The use of the amplifier enabled it to be heard in any setting. The early electric sound of the guitar is featured on Track 39 of the Audio Primer ; this is the basic sound associated with the jazz electric guitar in non-rock settings. After rock became popular in the 1950s and 1960s, the electric guitar underwent a sonic revolution. Electronic effects were introduced that radically augmented the sounds the instrument could produce. Some of these sounds, typical of jazz-rock and jazz-funk fusion, can be heard on Tracks 40–42.
Over many years, as one person taught another, this music and its performance undoubtedly underwent gradual stylistic changes. Unfortunately, these changes have been lost to historians because there is little or no documentation. C H R I STI A N ITY, TH E R I N G S H O UT, S P I R ITUA LS , AND WORK SONGS As many African Americans converted to Christianity, they learned Protestant hymns and other religious songs that introduced them to the melodic, formal, and harmonic elements of European music.
Examples of forms that show sections are AABA, a common song form, and ABACA, which is more often heard in classical music. If a section repeats but is modified, the repeated section is often denoted by one or more primes added to the letter: AA´BA˝ shows that the initial A section returns twice but is modified at each repetition. In general, to uncover the basic form of a piece of music, count the number of bars that create self-contained sections. The easiest way to count bars is to keep track of them systematically through the beat of the music.