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Chapter 3: Jazz and Ethnicity

by: Maria Sales

Chapter 3: Jazz and Ethnicity MUS 114

Maria Sales

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About this Document

August 30, 2016 notes in Jazz History
Jazz History
Madsen, Christopher A.
Class Notes
Jazz, ethnicity, folk, traditions, Blues, Buzzard, Lope
25 ?




Popular in Jazz History

Popular in College of Architecture, Design, and the Arts

This 1 page Class Notes was uploaded by Maria Sales on Friday September 2, 2016. The Class Notes belongs to MUS 114 at University of Illinois at Chicago taught by Madsen, Christopher A. in Fall 2016. Since its upload, it has received 5 views. For similar materials see Jazz History in College of Architecture, Design, and the Arts at University of Illinois at Chicago.

Popular in College of Architecture, Design, and the Arts


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Date Created: 09/02/16
August 30, 2016 Chapter 3: Jazz and Ethnicity  Three classifications of jazz: o Art form: jazz viewed as the heart of institutional America played by skillfully trained musicians o Popular music: jazz viewed as a commodity partly dependent on taste. o Folk music: although urban, jazz stems from African American folk traditions  Jazz is an African American music: ethnic versus racial distinctions. o Jazz musicians may be black, white, or any other ethnicity o Some say that African American denotes not a race (genetically determined physical characteristics) but rather an ethnic group (cultural). o As such, the ethnic features of this music (unlike racial features) can be learned and shared. o African American musical principles include polyrhythm, call and response, blue notes, and timbre variation. These are not unique to jazz, but their interaction within the genre is highly specific to it.  Folk Traditions o Helped create melting pot o Genres  Ballads, work song, field hollers  Spirituals: call & response with religious poetry. 20s gospel music is beginning to develop.  “The Buzzard Lope” o Relatively isolated Georgia Sea Island (Gullah Culture) o 20s built a bridge to the mainland o “Buzzard Lope” is spiritual dance represented buzzards devouring slave bodies left in the field  Blues – AAB 3-lines. Distinct chord progression o Blues was personal which reflected cultural shift from slavery  Country Blues – Performed by solo male musicians accompanying themselves on guitar. Loosely based around blues form  Vaudeville (Classic) Blues – Blues crossed over into pop music, jazz musicians became involved.  Bessie Smith (1894 – 1937) o Most popular classic blues singer known o 1 recordings in 1923 1


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