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Essay / Research Paper Abstract
An 8 page research paper that discusses and analyzes Duke Ellington's composition "Caravan." The writer offers a brief biography of Ellington and then discusses contextual information pertaining to "Caravan." Bibliography lists 10 sources.
Page Count:
8 pages (~225 words per page)
File: D0_khduelca.rtf
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Unformatted sample text from the term paper:
idiom was composer-pianist-bandleader Edward Kennedy "Duke" Ellington (Machlis 420). Dr. John Edward Hasse, music historian and Ellington expert, considers Ellington to be the "greatest-all-around musician" that the United States has
ever produced ("Embracing Ellington" 29). While America has produced many "great composers, orchestrators and arrangers," as well as "brilliant bandleaders and conductors" and virtuosos, Ellington was all these things, as
he combined these talents with originality and vision ("Embracing Ellington" 29). Brief biography Born in Washington, D.C. in 1899, Ellington acquired the nickname of "Duke" as an adolescent (Teachout
74). The story goes that he was given the name by a friend who was impressed with Ellingtons "regal air" (Edward K.). He received piano lessons at the age of
seven, but was not considered to be prodigy and the lessons extended only over the course of just a few months (Teachout 74). Ellington never again formally studied music. However,
by 1930, Ellington had composed and recorded numerous songs, which--while technically not as sophisticated in their harmonies as some other big band leaders--compared favorably with the originality of pianist-composer Jelly
Roll Morton (Teachout 74). The Ellington style It was part of Ellingtons style to compose "directly on his band" (Teachout 74). In other words, Ellington taught himself how to
orchestrate by using this band, an "unrivaled collection of musical eccentrics," as his "laboratory," in which he mastered the art of "blending individual timbres into a collective sound of unique
richness and complexity" (Teachout 74). From 1939 onward, Ellington worked in close collaboration with Billy Strayhorn and the precise nature this influence on Ellingtons work is an "unresolved issue" in
musical history scholarship (Teachout 74). The works that Ellington composed, along with his collaborators, and recorded in the 1930s are regarded as those that signal his maturity as a
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