Jazz History Timeline

Many people argue that the beginning of Big-Time jazz in Chicago started in 1922 when the popular trumpeter Louis Armstrong moved from New Orleans bringing with him the new sound we now all know. Of course not everyone knows that as well as Armstrong another forty or so well known jazzmen also moved to Chicago during the 1920’s from New Orleans, making Chicago, for some time, the new city of the jazz era.

The music of these jazzmen and bands became different from the more "traditional jazz", or "Dixieland jazz" of New Orleans as they developed new techniques, rhythms and forms from the jazz they already played. Soloists began to come into their own and many a band had a number or two featuring all the instruments separately performing their own solo within the same piece of music.

Music that was either was written down or remembered as a ‘number’ now included improvisation from the musicians as well (rather like the original jazz of early 20th Century New Orleans), and this musicianship and expertise thrilled the audiences.

Naturally, in the course of jazz history Chicago received its own reputation during the years of ‘Prohibition’. The anti-alcohol laws were flouted and the ‘speakeasy’ became the place to go. Where there was a ‘speakeasy’ often there was a jazz band playing there. Police corruption and gang ‘protection’ helped many of these thrive and perhaps gave jazz a somewhat sleazy name in the States during this era, whilst at the same time popularising it as something a bit risqué.

However all these events only served to improve the music as the music spoke easily to all as well and this helped to diversify the audience. Whites and blacks could sit down together in Chicago and the Northern States which they were often unable to do in the Southern ones where a policy of apartheid was still far from unusual.

The gradual move north at the beginning of the century of many black families due to the ancient prejudices of the south ensured that there was an appreciative audience in the more northern cities, particularly Chicago. The jazz history timeline moved northwards from New Orleans, as did the developments in the music itself. It became a form of free speech for black and white people alike, although it must be admitted that there were still, at this time, many less whites able to play this type of music as competently as black musicians, and many people thought of it as "black music".

This rapidly changed, particularly in Chicago, as many white musicians wanted not only to enjoy but also to cash in on this popular music medium. Sheet music was available in the days when many people had a piano at home and other instruments were learned as a matter of course in the more ‘middle-class’ families, and indeed on the streets.

The music of Chicago has lasted the test of time and has gone on to be innovative to this day. Whilst it could be argued that the centre of jazz moved to New York, as did many bands and musicians from both New Orleans and Chicago, these innovative centres continued in their own right as places of excellence. As transport between the two was comparatively easy both in the 1920’s and subsequently, the players from New York drew on their Chicago musical compatriots and vice-versa to give mutual inspiration. Bands based on one would often tour the other and indeed the cities in between, bringing jazz in its new style to people all over the country.

The same spirit of the age also travelled abroad from Chicago to Europe, particularly in the new medium of the recording. The world was now hearing what was played in Chicago and tried to copy it.

This early era of innovation in jazz music can very easily call Chicago its original home. From there it blossomed and continues to do so today, both worldwide and in its "home" city.

Source: http://www.articlesofnote.com
By: Jen Rossi

Developing an Appreciation of Classical Music

Classical music is at once one of the best known and least understood forms of music, and many music fans who feel they would never like classical music are surprised at just how enjoyable it can be.

Of course, classical music can take a great many forms, and not every music fan will appreciate every kind of classical music. To some people, classical music is best enjoyed in a crowded concert hall, with a glass of wine and good company. To others, the best classical music is enjoyed alone, perhaps in a darkened room with a great stereo system. Still others will enjoy making their own classical music in the company of family and friends, perhaps playing their own piano or enjoying a night out.

For those who are unfamiliar with classical music, there are many places to begin your classical education. One of the best places to start to learn about classical music is with your local public radio station. Just about every market in the country has at least one public radio station, and many public radio stations have extensive classical music programming during their broadcast day. In addition, the announcers on these stations are usually quite well versed in all aspects of classical music, so if you have a question about the art form they are a great place to start.

In addition to public radio, the many internet radio stations are a great way to introduce yourself to the world of classical music. There are a great many classical music stations on the internet, including many sub genres, such as classical guitar or classical piano. Scanning the music available at these sources is a great way to explore the breadth of classical music available and get started on your own appreciation.

For some listeners, an appreciation of classical music will come almost immediately, while for others it may take quite some time to develop an ear for the nuance and style that classical music represents.

The time you take learning about classic music will be time well spent, though, and you may learn more than you ever intended about one of the oldest forms of music in the world. Classical music has been with us for centuries, and chances are good that it will be with us for centuries to come.

While other forms of music, from country and rock and roll to hip hop and rhythm and blues, may not be around five hundred years from now, chances are good that our great, great, great, great, great grandchildren will still be enjoying piano recitals, chamber music and other kinds of classical music.

By: Mike Freemen

Why Does a Conductor Wave His Arms?

Before starting my conducting career, I often wondered “What is so difficult about standing up in front of a choir and waving your arms? ‘Seems as if anyone with a modicum of rhythm could do that.”

The simple answer is: “Indeed, anyone with rhythm and a knowledge of the music can wave his or her arms and direct a song.” But - the performance is the easy part.

What most people don’t realize (nor did I until rather late in life) is that the importance of the director or conductor is manifest long before the audience ever sees the performance. The most important role of the music director is to study the musical score in detail, anticipating sections that may cause trouble for the musicians, making minor “director’s interpretation” changes, and then causing the ensemble to make a beautiful sound. Beautiful music does not just happen; the director makes it happen. And the better the director, the better the sound. A good director can take a mediocre band and improve its sound significantly.

She takes the performing forces that are available to her, and through repetition-and-correction, correction-and-repetition, ensures that each musician is playing or singing the right notes, coming in at the right time, cutting off at the correct time, breathing at the proper time, going loud (or soft) at the same time, and speeding up or slowing down together. Additionally, vocal ensembles fuss with such issues as proper enunciation so that their words can be understood by the audience. Vocalists also have to worry about such nuances as the “color” of their sound – is it “dark and mysterious” or “light and airy.”

“A cappella” choirs – those that sing without accompaniment – have an even more difficult task. To be good, they must be even more precise than an accompanied chorus. If even one voice comes in early (or leaves late), it will stand out very noticeably. Good acappella singing also requires a purer sound because it does not have instrumental assistance to enhance the natural sound of the voice. And the pitch must be perfect.

Whenever we see a clown act, it looks as if it would be easy to be silly. “Anyone could do that.” But serious clowns rehearse and rehearse their “stunts” until they can do them flawlessly, and seemingly spontaneously. Good musical performers do exactly the same. The beauty of the sound during a performance is directly proportional to the amount of effort exerted during rehearsals.

And as a final bit of trivia, you may have wondered the difference between a “director” and a “conductor.” A “conductor” is one who directs an orchestra or chorus. A “director” does the same. The terms are often used synonymously; however, the term “conductor” is normally reserved for directors of symphonic orchestras and choruses.
So, the next time you enjoy a musical performance, realize the importance of the director/conductor in making it pleasing to you. Waving his arms is the easy part.