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Bebop

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Charlie Parker,saxophonista inter maximos musicos aevi bebop numeratus, una cumThoma Potter,Max Roach, etMiles Davis coram populo prodit in Three Deuces, sodalitateNovi Eboraci constituta.
Dizzy Gillespie in Downbeat Club Novi Eboraci circa1947.
"Contra explanationes originum horumverborum, actores verbabebop etrebop in prima locutione bop revera cecinerunt, ut in exemplo sequente monstratur."[1][2]SonoPlay info
Nonnulli musici bebop lumina in52nd Street sunt, Maio1948.
Thelonius Monk,Howardus McGhee,Roy Eldridge, etTheodorus Hill ante Minton's Playhouse, Novi Eboraci, Septembri1947.

Bebop estgenusmusicae jazz cuius proprietates sunttempus rapidum ac dexteritasinstrumentorum musicorum etperfunctionis extemporalis suspensa mixturàstructurae harmonicae, usùs graduum sonorum nec non significationum melodiae per occasionem factarum. Bebop primis et mediisannis 1940 effecta est. Quo factum est, ut hic modus canendi ad ultimumjazz moderna esse putaretur, quia utrumque genus certam maturitatemannis 1960 attigit.

Bebop orta est, cum iuventus jazzicorum modum popularemmusicae swing superare vellet novis introductis musicae modis ad saltandum minus aptis, qui nihil nisi attentas aures poscerent.[3] Quia non iam ad modos bebop saltabatur, temporibus rapidioribus uti licuit. Musici bebop praetereaharmonias provectiores,syncopas multiplices,alternationes et extensiones substitutionesquechordarum, phrasesasymmetricas,melodias plectiles,rhythmosque inauditos explorabant. Grex bebop insaxophono,trompeta,cithara,clavili,contrabassotympanorumque apparatu consistere solebat.

Musici

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Hi sunt, qui musica bebop maxime innotuerunt:

Notae

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  1. ↑Anglice: "In spite of the explanations of the origins of these words, players actually did sing the words 'bebop' and 'rebop' to an early bop phrase as shown in the following example."
  2. ↑Tanner et Gerow 1964:81.
  3. ↑Lott 1988.

Bibliographia

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  • Baillie, Harold B.1987.Swing to Bop: An Oral History of the Transition of Jazz in the 1940s. Oxoniae: Oxford University Press.
  • Berendt, Joachim E.1975.The Jazz Book: From Ragtime to Fusion and Beyond. Conv. H. et B. Bredigkeit, cum Dan Morgenstern. Westport Connecticutae: Lawrence Hill & Co.
  • Deveaux, Scott.1999.The Birth of Bebop: A Social and Musical History.' Berkeleiae: University of California Press.
  • Feather, Leonard.1977.Inside Jazz. Da Capo. Editio prima:Inside Bebop (1949).
  • Giddins, Gary.1987.Celebrating Bird: The Triumph of Charlie Parker. Novi Eboraci: Morrow.
  • Gioia, Ted.1997.The History of Jazz. Oxoniae et Novi Eboraci: Oxford University Press.
  • Gitler, Ira.1983.Jazz masters of the 40s. Da Capo.
  • Gitler, Ira.2001.The masters of Bebop. Da Capo.
  • Jamin, Jean.2001. Au-delà du Vieux Carré, Idées du jazz en France.L’Homme 158–159:285–300.
  • Lott, Eric.1988. Double V, Double-Time: Bebop's Politics of Style.Callaloo 36:597–605.
  • Martin, Denis-Constant.2001. De l’excursion à Harlem au débat sur les «Noirs», Les terrains absents de la jazzologie française.L’Homme 158–159:261–278.
  • Owens, Thomas.1996.Bebop: the music and its players. Oxford University Press.
  • Panassié, Hugues.1965.La Bataille du jazz.
  • Rosenthal, David.1992.Hard bop: Jazz and Black Music, 1955–1965. Novi Eboraci: Oxford University Press.
  • Tanner, Paul O. W., et Maurice Gerow.1964.A Study of Jazz. Ed. 2a.ISBN 0697035573.
  • Tirro, Frank.1967. The Silent Theme Tradition in Jazz.The Musical Quarterly 53(3):313–334.

Nexus externi

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