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Essay / Research Paper Abstract
5 pages in length. Bebop jazz, which slowly evolved from late swing and transition period jazz, was quite a shock to the white population when it first appeared on the scene during the Depression. This intricate compilation of sounds became the staple for all that was anti-commercial and as much a part of African-American roots as possible. The reason for such separation between blacks and whites when bebop became so popular is that white musicians were in it for the commercial success, seeing no other reason to play jazz but for financial gain and recognition. Bibliography lists 6 sources.
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5 pages (~225 words per page)
File: LM1_TLCbebop.rtf
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the Depression. This intricate compilation of sounds became the staple for all that was anti-commercial and as much a part of African-American roots as possible. The reason for
such separation between blacks and whites when bebop became so popular is that white musicians were in it for the commercial success, seeing no other reason to play jazz but
for financial gain and recognition. Blacks, on the other hand, turned bebop jazz into a personal expression devoid of as much materialistic impression as possible. This new attitude
caused great dissent between the two groups, inasmuch the white mans livelihood was at risk "due to the licensing procedures of the New York Police in 1940 and a recording
ban imposed by the American Federation of Musicians Local 802 on small companies" (Rutkoff et al 91). After the ban was lifted, however, and white musicians realized that bebop
jazz was here to stay, entirely new attitudes came forth enabling them to both embrace and enjoy the new sound. "Jazz served as the ultimate point of reference, even
though, or perhaps even because, few among them played it. From it they adopted the mythos of the brooding, tortured, solitary artist, performing with others but always alone.
They talked the talk of jazz, built communal rites around using the jazzmans drugs, and worshipped the dead jazz musicians most fervently. The musician whose music was fatal represented
pure spontaneity" (Maynard PG). The jazz world would never be the same after the Metronome All Stars on January 3, 1949, where
such huge names as Fats Navarro, Dizzy Gillespie, Miles Davis, J.J. Johnson, Kai Winding, Buddy DeFranco, Charlie Parker, Charlie Ventura, Ernie Caceres, Billy Bauer, Lennie Tristano, Eddie Safranski and Shelly
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