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Pettengill says that Bebop jazz musicians showed their distaste for jazz classics by radically reshaping them. Romney says that bebop jazz musicians recognized that only compelling, versatile songs can stand radical revisions.bebop, also called bop, the first kind of modern jazz, which split jazz into two opposing camps in the last half of the 1940s. The word is an onomatopoeic rendering of a staccato two-tone phrase distinctive in this type of music.Nonsense Syllables. The term “bebop” is an onomatopoeic reference to the accented melodic lines of the music. Sometimes shortened to “bop,” the name was most likely given to the style music retroactively, as the musicians themselves often referred to their style simply as “modern jazz.”
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What was the bebop style of jazz?
bebop, also called bop, the first kind of modern jazz, which split jazz into two opposing camps in the last half of the 1940s. The word is an onomatopoeic rendering of a staccato two-tone phrase distinctive in this type of music.
What did bebop jazz musicians consider themselves as?
Nonsense Syllables. The term “bebop” is an onomatopoeic reference to the accented melodic lines of the music. Sometimes shortened to “bop,” the name was most likely given to the style music retroactively, as the musicians themselves often referred to their style simply as “modern jazz.”
What is bebop jazz characteristics?
Bebop (or “bop”) is a type of small-band modern jazz music originating in the early 1940s. Bebop has roots in swing music and involves fast tempos, adventurous improvisation, complex harmonies and chord progressions, and a focus on individual virtuosity.
What are some significant characteristics of the bebop style?
A lean, edgy tone; the use of blues inflections; frequent double-time sixteenth-note runs; many recognizable bebop-style licks; the use of scale-chord relationships resulting fro extended harmonies; disjointed, irregularly accented melodic lines.
What did bebop influence?
Inspired by the more harmonically and rhythmically experimental players from the swing era—such as Coleman Hawkins, Lester Young, Art Tatum, and Roy Eldridge—bebop musicians expanded the palette of musical devices. As bebop was not intended for dancing, it enabled the musicians to play at faster tempos.
What are the characteristics of bebop quizlet?
- Tempos. were not danceable – either too fast or too slow; the musicians wanted the audience to listen to their music.
- Melodies. became more complicated and more like improvisations.
- Chord Progressions. …
- The “Flat 5” …
- Groups. …
- Drummer. …
- Rhythm section. …
- Arrangements.
In what ways did bebop musicians express their feelings about the social issues of the day?
Bebop musicians expressed their feelings about social issues of the day in various ways. One form of expression was through nonconformity, a rejection of all things conformist or mainstream, which included a reaction against American racism and segregation.
How is bebop different from jazz?
1. Whereas bebop was “hot,” i.e., loud, exciting, and loose, cool jazz was “cool,” i.e., soft, more reserved, and controlled. 2. Whereas bebop bands were usually a quartet or quintet and were comprised of saxophone and/or trumpet and rhythm section, cool jazz groups had a wider variety of size and instrumentation.
How did bebop differ from earlier jazz forms quizlet?
Bebop differed from earlier jazz forms in that it… vocalization of a melodic line with nonsense syllables.
What is the primary focus of bebop?
Whereas in Big Band Swing the focus was (is)on the soloist, in Bebop the focus was (is) on the arrangement and the playing of the ensemble. The basic format for the performance of a bebop tune is: head played in unison by the horns for the first and last chorus with a lot of improvised solos in between.
Why is bebop jazz so good?
Bebop’s light-fingered, super-fast triplets, breath-taking chromatic and whole-tone scale runs, and arabesques of notes in new curved shapes jazz had never heard before, gave jazz a dexterity and a light virtuosity that served as a perfect counter-weight to the heavier elements in the harmonic realm.
Which style of music was a reaction to the early style of bebop?
Which style of music was a reaction to the early style of bebop? The arrival of rock and roll, along with the advent of electronic instruments such as the electric guitar and various synthesizers, led to the blending of rock and jazz into a new style known as fusion.
What is the primary focus of bebop?
Whereas in Big Band Swing the focus was (is)on the soloist, in Bebop the focus was (is) on the arrangement and the playing of the ensemble. The basic format for the performance of a bebop tune is: head played in unison by the horns for the first and last chorus with a lot of improvised solos in between.
How is bebop different from jazz?
1. Whereas bebop was “hot,” i.e., loud, exciting, and loose, cool jazz was “cool,” i.e., soft, more reserved, and controlled. 2. Whereas bebop bands were usually a quartet or quintet and were comprised of saxophone and/or trumpet and rhythm section, cool jazz groups had a wider variety of size and instrumentation.
Which style of music was a reaction to the early style of bebop?
Which style of music was a reaction to the early style of bebop? The arrival of rock and roll, along with the advent of electronic instruments such as the electric guitar and various synthesizers, led to the blending of rock and jazz into a new style known as fusion.
Why is it called bebop?
The name bebop is simply imitative in origin: it came from a vocalized version of the clipped short notes that characterized the sound of this new musical language, which was often performed at fast tempos with off-the-beat rhythms reflected in the name bebop itself.
bebop jazz musicians showed their distaste
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#1 – Pettengill: Bebop jazz musicians showed their – LSAT Discussion Forum
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Pettengill:Bebop Jazz musicians showed their distaste for Jazz classic : Critical Reasoning (CR)
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Pettengill:Bebop Jazz musicians showed their distaste for Jazz classic : Critical Reasoning (CR) Pettengill: Bebop Jazz musicians showed their distaste for Jazz ics by taking great liberties with them, as though the songs could be … Pettengill: Bebop Jazz musicians showed their distaste for Jazz classics by taking great liberties with them, as though the songs could be made interesting only …jazz, the, bebop, musicians, their, pettengill, showed, for, classics, distaste, reshaping, and, them, was, music - Table of Contents:
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bebop | Definition, Characteristics, Artists, & Facts | Britannica
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- Most searched keywords: Whether you are looking for bebop | Definition, Characteristics, Artists, & Facts | Britannica Updating bebop, also called bop, the first kind of modern jazz, which split jazz into two opposing camps in the last half of the 1940s. The word is an onomatopoeic rendering of a staccato two-tone phrase distinctive in this type of music. When it emerged, bebop was unacceptable not only to the general public but also to many musicians. The resulting breaches—first, between the older and younger schools of musicians and, second, between jazz musicians and their public—were deep, and the second never completely healed. Whereas earlier jazz was essentially diatonic (i.e., basing melodies and harmonies on traditional Western major andbebop, encyclopedia, encyclopeadia, britannica, article
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How the Rise of Bebop Changed Jazz
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A look at bebop from Its historical origins to Its musical intricacies
Adventurous Improvisation
Beyond Swing
Nonsense Syllables
Important Bebop Musicians
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The Birth of Bebop: A Social and Musical History – Scott Knowles DeVeaux – Google Sách
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- Most searched keywords: Whether you are looking for The Birth of Bebop: A Social and Musical History – Scott Knowles DeVeaux – Google Sách Updating The richest place in America’s musical landscape is that fertile ground occupied by jazz. Scott DeVeaux takes a central chapter in the history of jazz–the birth of bebop–and shows how our contemporary ideas of this uniquely American art form flow from that pivotal moment. At the same time, he provides an extraordinary view of the United States in the decades just prior to the civil rights movement. DeVeaux begins with an examination of the Swing Era, focusing particularly on the position of African American musicians. He highlights the role played by tenor saxophonist Coleman Hawkins, a “progressive” committed to a vision in which black jazz musicians would find a place in the world commensurate with their skills. He then looks at the young musicians of the early 1940s, including Charlie Parker, Dizzy Gillespie, and Thelonious Monk, and links issues within the jazz world to other developments on the American scene, including the turmoil during World War II and the pervasive racism of the period. Throughout, DeVeaux places musicians within the context of their professional world, paying close attention to the challenges of making a living as well as of making good music. He shows that bebop was simultaneously an artistic movement, an ideological statement, and a commercial phenomenon. In drawing from the rich oral histories that a living tradition provides, DeVeaux’s book resonates with the narratives of individual lives. While The Birth of Bebop is a study in American cultural history and a critical musical inquiry, it is also a fitting homage to bebop and to those who made it possible. The richest place in America’s musical landscape is that fertile ground occupied by jazz. Scott DeVeaux takes a central chapter in the history of jazz–the birth of bebop–and shows how our contemporary ideas of this uniquely American art form flow from that pivotal moment. At the same time, he provides an extraordinary view of the United States in the decades just prior to the civil rights movement. DeVeaux begins with an examination of the Swing Era, focusing particularly on the position of African American musicians. He highlights the role played by tenor saxophonist Coleman Hawkins, a “progressive” committed to a vision in which black jazz musicians would find a place in the world commensurate with their skills. He then looks at the young musicians of the early 1940s, including Charlie Parker, Dizzy Gillespie, and Thelonious Monk, and links issues within the jazz world to other developments on the American scene, including the turmoil during World War II and the pervasive racism of the period. Throughout, DeVeaux places musicians within the context of their professional world, paying close attention to the challenges of making a living as well as of making good music. He shows that bebop was simultaneously an artistic movement, an ideological statement, and a commercial phenomenon. In drawing from the rich oral histories that a living tradition provides, DeVeaux’s book resonates with the narratives of individual lives. While The Birth of Bebop is a study in American cultural history and a critical musical inquiry, it is also a fitting homage to bebop and to those who made it possible.
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The Birth of Bebop: A Social and Musical History – Scott Knowles DeVeaux – Google Sách
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- Most searched keywords: Whether you are looking for The Birth of Bebop: A Social and Musical History – Scott Knowles DeVeaux – Google Sách 1 . Pettengill: Bebop jazz musicians showed their distaste for jazz ics by taking great liberties with them , as though the songs could be made interesting … The richest place in America’s musical landscape is that fertile ground occupied by jazz. Scott DeVeaux takes a central chapter in the history of jazz–the birth of bebop–and shows how our contemporary ideas of this uniquely American art form flow from that pivotal moment. At the same time, he provides an extraordinary view of the United States in the decades just prior to the civil rights movement. DeVeaux begins with an examination of the Swing Era, focusing particularly on the position of African American musicians. He highlights the role played by tenor saxophonist Coleman Hawkins, a “progressive” committed to a vision in which black jazz musicians would find a place in the world commensurate with their skills. He then looks at the young musicians of the early 1940s, including Charlie Parker, Dizzy Gillespie, and Thelonious Monk, and links issues within the jazz world to other developments on the American scene, including the turmoil during World War II and the pervasive racism of the period. Throughout, DeVeaux places musicians within the context of their professional world, paying close attention to the challenges of making a living as well as of making good music. He shows that bebop was simultaneously an artistic movement, an ideological statement, and a commercial phenomenon. In drawing from the rich oral histories that a living tradition provides, DeVeaux’s book resonates with the narratives of individual lives. While The Birth of Bebop is a study in American cultural history and a critical musical inquiry, it is also a fitting homage to bebop and to those who made it possible. The richest place in America’s musical landscape is that fertile ground occupied by jazz. Scott DeVeaux takes a central chapter in the history of jazz–the birth of bebop–and shows how our contemporary ideas of this uniquely American art form flow from that pivotal moment. At the same time, he provides an extraordinary view of the United States in the decades just prior to the civil rights movement. DeVeaux begins with an examination of the Swing Era, focusing particularly on the position of African American musicians. He highlights the role played by tenor saxophonist Coleman Hawkins, a “progressive” committed to a vision in which black jazz musicians would find a place in the world commensurate with their skills. He then looks at the young musicians of the early 1940s, including Charlie Parker, Dizzy Gillespie, and Thelonious Monk, and links issues within the jazz world to other developments on the American scene, including the turmoil during World War II and the pervasive racism of the period. Throughout, DeVeaux places musicians within the context of their professional world, paying close attention to the challenges of making a living as well as of making good music. He shows that bebop was simultaneously an artistic movement, an ideological statement, and a commercial phenomenon. In drawing from the rich oral histories that a living tradition provides, DeVeaux’s book resonates with the narratives of individual lives. While The Birth of Bebop is a study in American cultural history and a critical musical inquiry, it is also a fitting homage to bebop and to those who made it possible.
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Pettengill: Bebop jazz musicians showed their
Complete Question Explanation
Point at Issue. The correct answer choice is (C)
This Point at Issue question contrasts two viewpoints about bebop jazz musicians. Both Pettengill and
Romney agree that bebop musicians “radically reshaped” jazz classics, but disagree about the musicians’
motivation for doing so. Pettengill argues that bebop musicians found jazz classics distasteful and
uninteresting, while Romney contends that these artists appreciated the compelling, versatile nature of
jazz classics and sought to discover deeper levels in the original music. Answer choice (C) correctly
expresses this disagreement.
Answer choice (A): Pettengill and Romney both use the term “radical reshaping” to describe bebop
musicians’ reinterpretation of jazz classics. Since both authors agree with this statement, it cannot be the
correct answer choice.
Answer choice (B): This answer choice is the most attractive of the incorrect answers. Romney claims
that bebop musicians “discover[ed] previously unknown depths in the music” they reshaped. So
Romney would likely agree with this statement. What about Pettengill? While Pettengill certainly seems
negatively inclined toward bebop musicians, Pettengill never makes a value judgment about bebop music
itself. It is possible (though perhaps unlikely) that Pettengill believes that jazz classics can “be made
interesting only through radical reshaping.” Since Pettengill’s position regarding the final state of the
reshaped music is uncertain, answer choice (B) is incorrect.
Answer choice (C): This is the correct answer choice. The correct answer choice to any Point at Issue
question must pass the Agree/Disagree Test: Romney agrees that “bebop musicians showed appreciation
for jazz classics” by recognizing them as “compelling, versatile” songs. Pettengill argues that bebop
musicians showed “distaste for jazz classics” and therefore disagrees with this statement.
Answer choice (D): The stimulus does not provide enough information to determine how either
Pettengill or Romney would respond to this statement. Neither speaker addresses widespread popularity,
so this cannot be the correct answer choice.
Answer choice (E): Both Pettengill and Romney would agree that bebop musicians were influenced
by their predecessors and that alone is sufficient to eliminate this answer choice. Further, it is unclear
whether either or both speakers necessarily consider earlier styles to be more conservative than the style
of bebop musicians. It is possible that the radical reshaping both speakers attribute to bebop musicians
was simply from one liberal style of jazz to another.
Pettengill:Bebop Jazz musicians showed their distaste for Jazz classic
RaguramanS wrote:
Pettengill: Bebop Jazz musicians showed their distaste for Jazz classics by taking great liberties with them, as though the songs could be made interesting only through radical reshaping.
Romney: Only compelling, versatile songs can understand such radical reshaping. Bebop musicians recognized this, and their revolutionary approach to the jazz classics enabled them to discover previously unknown depth in the music.
Pettengill and Romney disagree over whether
(A) Bebop jazz was radically different from the jazz music that preceded it
(B) Bebop jazz was an improvement on the jazz classics that preceded it
(C) Bebop jazz showed appreciation for jazz classics in radically reshaping them
(D) Jazz musicians requires musicians to adhere closely to the original version in order to be widely popular
(E) Bebop jazz were influenced by the more conservative styles of their predecessors
Source: LSAT
Choose the option and explain your answers
Put in the work, and that dream score is yours! Signature Read More
The Answer is C IMO.A – The argument doesn’t imply the music was radically different, but seems like a good trap Answer.B – Neither of the 2 mention music was better.C – P says they showed distaste by reshaping jazz, but R says they understood the versatility and that’s why they reshaped it. Sounds correct.D – This wasn’t mentioned in the argument.E – Irrelevant._________________
bebop | Definition, Characteristics, Artists, & Facts
bebop, also called bop, the first kind of modern jazz, which split jazz into two opposing camps in the last half of the 1940s. The word is an onomatopoeic rendering of a staccato two-tone phrase distinctive in this type of music. When it emerged, bebop was unacceptable not only to the general public but also to many musicians. The resulting breaches—first, between the older and younger schools of musicians and, second, between jazz musicians and their public—were deep, and the second never completely healed.
Whereas earlier jazz was essentially diatonic (i.e., basing melodies and harmonies on traditional Western major and minor 7-note scales comprising 5 whole and 2 half steps), much of the thinking that informed the new movement was chromatic (drawing on all 12 notes of the chromatic scale). Thus the harmonic territory open to the jazz soloist was vastly increased.
Read More on This Topic jazz: Bebop takes hold The first signs of these fresh musical sounds could be heard as early as 1941, particularly in works by such composer-arrangers as Buster…
Bebop took the harmonies of the old jazz and superimposed on them additional “substituted” chords. It also broke up the metronomic regularity of the drummer’s rhythmic pulse and produced solos played in double time with several bars packed with 16th notes. The result was complicated improvisation.
The movement originated during the early 1940s in the playing of trumpeter Dizzy Gillespie, guitarist Charlie Christian, pianist Thelonious Monk, drummer Kenny Clarke, and the most richly endowed of all, alto saxophonist Charlie “Bird” Parker.
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A later style, known as hard bop, or funky, evolved from and incorporated elements of gospel music and rhythm and blues. Horace Silver was the most prominent pianist, composer, and bandleader in this period. Cannonball Adderley and Art Blakey led other hard bop combos.
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