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Download A History of Jazz in America by Barry Ulanov PDF

By Barry Ulanov

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Extra info for A History of Jazz in America

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African drumming, submitted to the most painstaking Superficially, this . . of auditions, simply does not break down into a structured rhythmic music; there are shifts of time and points and counterpoints of rhythm that make accurate notation impossible. As for the melodic qualities and quantities of African music, these too are shaped by a tonal and rhythmic conception entirely outside the Western diatonic tradition. To speak of the blue notes the flattened third and seventh they are inflected against their natural position within a fixed key, or the alterations of pitch of jazz singers or instrumentalists, or their as glissandos, as American developments of African music is to talk unlettered nonsense.

Emmett, Arranged for the Piano Forte by W. L. " The song was first sung in public in 1859. Emmett was a Northerner and didn't intend to write a war anthem. For the South known the song became a tearful reminder of the Confederate Army; for the it evoked distant times and places, the longest trip away from home that many had ever made. "Dixie's Land" was the name origi- North nally invented by some Negro slaves sent to Charleston Dixie, to describe their original owner's by Johaan farm on Manhattan Island.

In the hills and mountains, down on the farm and up on the river, another transformation was taking place, an unconscious naturalization of the European musical inheritance that led to the blues and jazz. In the Southern Appalachians they were singing: a Scottish tune, Blow your horn and Blow your horn and call your dog, your dog, We'll go to the back woods and catch call a ground hog. tang fiddle de day. Rang In the Southern Highlands they were singing "Frankie and Albert" ("She killed her man, who wouldn't treat her right"); this was to become "Frankie and Johnnie," and later one of Duke Ellington's most persuasive sets of variations on the blues.

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