For example, as a scholar of jazz and American music Scott DeVeaux (1989) notes and comprehensively understands the importance of Benny Goodman’s outstanding concert that took place on January 16, 1938 in Carnegie Hall. DeVeaux (1989) asserts that the monumental significance of Goodman’s 1938 Carnegie Hall concert transcends the purity, goodness and brilliance of music that was delivered to the audience that day. In fact, the occurrence of the event can be viewed as an “important rite of passage” for jazz music (DeVeaux 1989). The primary reason behind this claim of the scholar is related to the traditional and conventional views of jazz that prevailed in American society at the time which associated the sound with limited locations, such as a tavern or vaudeville theatre and how these perspectives experienced a drastic change due to the concert of January 16, 1938. The essence of Scott DeVeaux’s (1989) article is rooted in a profound assessment of the jazz concert in the period preceding 1945 and I certainly agree with the notion that the legacy of jazz cannot be comprehended completely unless the events of earlier part of the 20th century are highlighted and given meaning to within the context of jazz concert, the style of bebop and the American culture. DeVeaux’s (1989) article begins with a concrete explication of the term “concert” and what the word actually embodies when associated with the thinking of an average citizen of America. The scholar understands that the depth of the word’s meaning when explored with respect to American society and culture has been gifted by the Europeans and the norms which surround the mediums of music and arts. Therefore, to fully navigate and discover the roots of “concert” one must look into the way a concert is expected to be delivered and how its audiences are expected to conduct and behave during the event. This notion essentially highlights the social prestige and stature that is linked with the attendance of a concert which are reflected by various obligations such as abiding by a certain dress code or maintaining a specific demeanor that fundamentally depicts the formal nature of the occasion (DeVeaux 1989). It should be noted that DeVeaux’s (1989) introduction of the concept of social stature and class differences in a discussion that primarily focuses on the spirit of music and a medium of expression that is free for everyone regardless of their economic background, wealth or affluence seems quite misdirected or misplaced at first. This observation is attributable to the lack of background information which should have been provided by the scholar to enlighten the reader regarding the role of class differences in giving birth to the supposed “low” and “high” musical cultures that existed in the United States at the time or perhaps still do. However, I do agree with DeVeaux (1989) when he claims that the formalities that are associated with a concert truly project a rather refined yet complicated image of the “concert” which ultimately causes the differences of “high” and “low” musical cultures to become grave but, it is not known or discussed how and when did these differences first emerge. In this section the scholar has offered rather vague information on the origin of the discrepancies that exist or existed with
Critical Response Essay - The Emergence of the Jazz Concert 1935-1945 Name University In “The Emergence of the Jazz Concert”, Scott DeVeaux (1989) documents the journey of jazz music through its development, progression and evolution in the first half of the 20th century…
Eastern Washington University (EWU) Repertory presented Steve Owen’s jazz song on 18th April, 2012 at 7.30 PM. The concert was held at the Eastern Washington University. The band consisted of a group singers and different instrumentalists. The performers on instruments were Lauren McKinley on piano, Garrell Stannard and Vinnie Nickoloff on drums, Collins Menning on bass, Balley Noble on vibes, and Will Thackaray on guitar.
Also, for a specific period of its survival, jazz was considered as dance music. From its original days, the genre developed as a type of music in which the musicians sung and played for themselves as a way to liberate themselves from the firmness of standard dance or standard bands; as well as other forms of popular or commercial music that they found monotonous and easy to play.
and Cleota Mae Davis. At the age of 65 he died due to pneumonia and other medical complications on September 28, 1991.
Miles Davis began his music career after he was given a trumpet as a present from his dad at the age of 12. During his adolescent years he took various
Initially, the word "jazz" was used as a slang word and was only used to refer to the music in the city of Chicago.
The influx of slave trade in the year 1808 brought millions of Africans to the United
They were seated at round tables. I also occupied a table with my friends. The dancer swayed her hips, and moved her body in a beautiful manner. A variety of energetic and poignant expressions were being portrayed in the way she articulated the dance steps. Her body was
Jazz has inculcated some elements of America popular secular song. Jazz music often consists of dance and ballads tunes with occasional simpler forms of harmonies orchestrated and accompanied with some string instruments and saxophone. Catalina’s Jazz Club in Hollywood is the best place to be every weekend to enjoy some of the best jazz music in US.
The concerts run on Fridays to Sunday on most weeks. Performers are mostly faculty at the CJC institution.
The name of the musicians performing was Zilberella. This is because the group was based of Susan Muscarella (founder of CJC) and Michael
The music director provided instructions how to listen to the piece. Through the entire event, all the performing artists gave an outstanding performance. The soloist Jessica Dacpano perfectly captured all the emotions of the music. Where there was no solo, each musician played with tangible energy.
7 pages (1500 words)Essay
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