Ethnomusicology assignment

On the other hand, cool Jazz began its rise to fame shortly after the bop period In the sass with a toned down form of jazz played primarily by white musicians on the west coast (Depraved & Giddings 12). Cool Jazz provided a greater structure to the delivery of music to an audience. Phrasing became well defined and advanced planning became associated with the successful execution of a composition (“ Cool Jazz”). Listening to bop and cool Jazz Invites audiences Into experiencing artists and compositions each with their own varying stylistic elements, themes, and improvisation of melodic and harmonic lines.

One of the pioneering musicians of the bebop style of Jazz was Charlie Parker, an exceptional saxophonist ho featured immense skill In Improvisation with “ his ability to extract quotes from various musical sources and artfully weave them into his own lines” (Crow 301 His use of improvisation accurately depicts the desultory and up-tempo style characteristic of bop Jazz. Along similar lines, John Birds Gillespie, better known as “ Dizzy’ Gillespie, Is commonly thought to be the most Influential trumpet player during the bop era despite his unconventional playing technique using puffed cheeks to produce sound (Devalue ; Giddings 11).

For instance, bop musician Charlie Parker composed the cool Miranda Suite” (1946) and “ Cool Blues” (1947) while the young Miles Davis wrote “ Sipping’ at the Bells” (1947) which “ obscures blues feelings by using complex harmonies” (Depraved & Giddings 12). Themes of influence from prior musicians are also found common within bop and cool Jazz. For instance, legendary saxophonist John Chlorate was predominately inspired by virtuoso Charlie Parker of the early bop period spawning some of his earliest inspiration to pursue a career as a musician (“ Cool Jazz”).

Although similarities and overlap exist in bop and cool Jazz, in comparing popularized musicians and their compositions of the time we find highly evident differences in structure and appeal. Bop pianist and composer, Telethons Monk, portrayed an individualistic improvisational style while also composing Jazz standards such as “ Apostrophe’ (1942), laying a groundwork of performances and compositions featuring dissonance and use of dramatic phrasing through abrupt silences and hesitations (Spencer 11).