A Brief Comparison Between Jazz And Hip Essay
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Throughout the history of this state, the music of African-Americans has remained a strong influence upon our society and civilization - A Brief Comparison Between Jazz And Hip Essay introduction. Get downing with the music carried over from Africa with the slaves, up until now, with the new manners created by urban young person today, African-Americans have retained certain elements within their music which makes it alone from any other musical signifier. Some of the musical signifiers which were created from, and/or were strongly influenced by afro-centric musical features are: Hymnals, Gospel, Spirituals, Ragtime, the blues, and R & A ; B. While many of these musical signifiers are still popular today amongst Blacks and Non-Blacks, wind and hip-hop are arguably the two most widespread and popular signifiers of Black music of all time created. As both signifiers of music were created purely by black instrumentalists, these musical signifiers are most popular amongst both the younger and the older coevalss of African-Americans. Outside the race, wind has become a medium listened to and performed by people of all ages. Hip-Hop, on the other manus, has enjoyed the bulk of it & # 8217 ; s popularity within younger circles, while it & # 8217 ; s resistance comes largely from the older coevalss. Jazz is known to hold it & # 8217 ; s chief influence from ragtime, and the street music of New Orleans. There were two types of street music from which wind derived it & # 8217 ; s manner ; these are the twine and percussion sets which besides sang in little groups to the music they made. The other was the brass sets of earlier old ages which imitated white marching sets, adding a turn of afrocentric quality. The first and most crude wind ensembles were called antediluvian wind sets. These sets retained many of the afrocentric features of earlier signifiers of black music such as spirituals and the blues ( Blesh, 160 ) . The broad mixture of instruments used by inkinesss were made accessible and low-cost during the Reconstruction period, due to the disbanding of legion Confederate sets in New Orleans instantly after the Civil War. These instruments normally ended up in pawn stores at inexpensive rates ideal for hapless inkinesss. What is most alone about wind is it & # 8217 ; s combination of the African features of polyrhythm, polyphonic music, improvisation, and the vocal tone given to instruments, with the harmoniousness and agreement of white processing set music. Other afrocentric qualities which can be heard in the music are: call and response, cheerful beat, repeat, falsetto, and croaky sounds. Some of the instruments used to accomplish this sound were the coronet, piccolo, alto horn, bass horn, trombone, clarinet, piano, and subsequently, the saxophone, along with the bass, trap membranophone, and cymbal ( Blesh, 160 ) . An illustration of some of these features is shown is the vocal, & # 8220 ; Deed I Do & # 8221 ; , Sung by Lena Horne. In this vocal, you can hear leftovers of white set music, every bit good as the polyphonic music of assorted instruments, showing the afrocentric qualities. & # 8220 ; It Don & # 8217 ; t Mean A Thing & # 8221 ; is a perfect illustration of all of the features mentioned above. Polyrhythm is heard in the background, along with polyphonic music, and the vocal tone attributed to weave instruments. Not to advert, improvisation is an intricate portion of the vocal. As a affair of fact, the bulk of the vocal is improvised with croaky and falsetto sounds by Ella Fitzgerald and Louis Armstrong. Another singularity from other manners of music that wind possessed was the Blue Notes, which were tones from assorted African graduated tables that deviate from the seven-tone graduated tables of European music ( Brendt, 15 ) . The bluish note is characteristic in about all wind vocals, and is the low, grave sound normally created by the piano, or certain horns. As with most signifiers of black music, the component of unwritten tradition and music as an look of mundane life is prevailing within wind. In about any wind vocal you listen to, there will be a message about life or the feelings of the creative person. Some of the instrumentalists responsible for developing this from of music were: Buddy Bolden, Bunk Johnson, Joe & # 8220 ; King & # 8221 ; Oliver, Edward & # 8220 ; Kid & # 8221 ; Ory, and Ferdinand & # 8220 ; Jelly Roll & # 8221 ; Morton. As wind became more popular, a 2nd coevals of performing artists arose, who made the musical signifier even more popular. The prima figure of this coevals was Louis Armstrong ( Brendt, 18-19 ) . The 2nd musical from I am analyzing in this paper is Hip-Hop. The first thing that is of import to cognize is that Hip-Hop is more of a civilization than a musical signifier. The musical signifier straight associated with and derived from Hip-Hop, is rap music. Therefore, while this part of the paper will chronicle the growing of the Hip-Hop civilization, it will besides analyze the musical signifier of blame. Hip-hop is a civilization consisting of graffiti art, interruption dance, djaying ( cutting and rubing records ) , and compering ( knaping ) . Hip-Hop could be considered a life style, with it & # 8217 ; s ain manner of frock, linguistic communication ( slang ) , and music. Today, many people confuse the hip-hop civilization with the musical signifier of blame, merely because it has become the most outstanding facet of the civilization. In the yesteryear, all elements of hip-hop were popular and widely practiced. Recently nevertheless, breakdancing and graffitos, while they still exist in smaller circles, have taken a back place to deejaying and compering ( Vibe Magazine, August 1996 ) . It is believed that hip-hop began as and has continued to be a response to the rejection of the values and demands of the younger coevals by the seniors. All elements of hip-hop began as signifiers of self-expression for those who wanted to be seen and heard. This demand for new signifiers of self look came approximately in the early 70 & # 8217 ; s in response to a alteration in black wireless. Black wireless Stationss played an intricate function in the black community as a musical every bit good as cultural refinisher. This is brooding of the bards and griots of West Africa. At that clip, black wireless reflected the cust
oms and values of the clip, and set the tone for and clime for which people governed their lives. This was because the wireless was a primary beginning of information and enjoyment for inkinesss, peculiarly those young person in the interior metropoliss. It is the theory of many that as black wireless began to seek to appeal to the older, more flush, and chiefly white audience and featured more of the less soulful and rhythmic white disco music, black young person felt excluded and responded by making hip-hop ( Vibe Magazine, August 1995 ) . Rap was created out of the hip-hop civilization in the early 70’s chiefly by a New York City DJ of Jamaican decent named Kool Herc. Herc’s manner of music consisted of declaiming improvised rimes ( wordss ) over dub versions of his reggae records. Since New York was non into reggae as they are now, Herc changed the reggae beats to the popular vocals of the twenty-four hours. As the records at the clip were comparatively short, Herc learned to widen the beats through repeat by utilizing an audio sociable and two of the same record on turntables. ( Rap Pages, November, 1992 ) . Rap was besides characterized by the component of call and response, where the master of ceremonies would declaim a well-known phrase, and the crowd would react with a common response such as: “If you’re holding merriment in the topographic point to be, person allow me cognize! ” and the crowd Shouts back “Oh yeah! ” . Or, “The roof, the roof, the roof is on fire! ” Crowd: “We don’t need no H2O, allow the m—f— burn! ” Other features of beat, clever word drama, and the usage of metaphors were besides prevailing. As Kool Herc became more popular, he began to concentrate more on the new facets of deejaying, and added two master of ceremoniess, Coke La Rock and Clark Kent, to organize one of the first master of ceremonies squads. They took on the name Kool Herc and the Herculoids ( Rap Pages, November, 1992 ) . The popularity of blame spread like wildfire because of the fact that it was easy accessible to anyone who wanted to seek it. There was no demand for big amounts of money, lessons, or other expensive resources to acquire started. All that was needed was a desire and the will to pattern. The art signifier besides provided assorted chance for new challenges. There were no regulations other than originality and the ability to rime to the round of the music. Rap besides allowed for the performing artist to project his or her individualism and personality. Staying with the African tradition of doing music life, Rappers normally talked about their life and things they’ve seen turning up. Besides, as blame progressed, a popular manner of exposing lyrical endowment was to “battle” another master of ceremonies. At the same clip, there were break dance crews who challenged each other every bit good. These public presentations began the tendency of block parties, or parties in the park, where all of the local young person would remain outside and watch the assorted master of ceremoniess conflict for hours. During these block parties, the music being used to do the interruption beats for rappers to rime over were older creative persons such as James Brown, Sly and the Family Stone, and the Last Poets. The music of these creative persons became the edifice blocks for today’s blame, and the latest phenomenon of “sampling” old records. Rap as a musical from, every bit good every bit hip-hop as a civilization continues to be popular among young person today for the same grounds it was in the past – it is still accessible to all, and allows for the free look of the performing artist with the positive avowal from his/her equals. Between wind and hip-hop, there are many similarities. This is particularly proven through the belief that hip-hop was indirectly created from or influenced by the scatting and improvisation of wind. The truth is, improvisation is an intricate portion of both musical signifiers. Besides, both signifiers use their wordss to show life and the universe as it is seen by the creative person. Jazz and hip-hop besides portion many of the same afrocentric features, such as polyphonic music, beat, repeat, and name and response. Music, poesy, and dance combined are besides really common in both mediums. In wind public presentations, the music is played, and over it an creative person may be reading or declaiming poetic poetry or dancing out the look of the music. As for hip-hop, poesy and dance are mediums which are more straight related to the music. In hip-hop the wordss of the master of ceremonies are considered the poesy, and the dance, interruption dance, was created right along with the music. As for the differences between the two, hip-hop is a more political art signifier than wind. Much of the significance behind the music is hidden in codification, or about a secret linguistic communication, understood merely by the secret society which created it. Jazz, on the other manus, is more care free, and easier understood by about anyone. Another difference is that wind requires a unrecorded set, in order to execute. Hip-Hop can be performed a Capella, or with music, but seldom requires a unrecorded set or instruments. Most music used within the hip-hop civilization consists of sampled records of the yesteryear. Last, hip-hop entreaties largely to the younger coevalss while wind snags hearers of about all ages. In decision, wind and hip-hop are both really interesting musical signifiers to analyze. Their beginnings are both largely from the street, and were invented and perfected by inkinesss who were talented instrumentalists with small or no preparation.
Mentions 1. Berendt, Joachim-Ernst ; The Story of Jazz. Prentice-Hall, New Jersey, 1978. 2. Blesh, Rudi ; Reflecting Huntsman’s horns: A History of Jazz. Da Capo Press, New York, 1975. 3. Balliett, Whitney ; Jelly Roll, Jabbo, and Fats. Oxford University Press, New York, 1983. 4. Ro, Ronin ; Gangsta: Trading the Rhymes of Violence. St. Martin & # 8217 ; s Press, New York, 1996. 5. Potter, Russel ; Dramatic Vernaculars. State University of New York Press, New York, 1995. 6. Vibe Magazine ; & # 8220 ; What is Hip-Hop? & # 8221 ; , August 1996. 7. Rap Pages ; & # 8220 ; The Beginnings of Rap: Kool Herc and the Herculoids & # 8221 ; , November, 1992.