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By fixating on race, DeVeaux avoids tackling this more fundamental question. Bebop evolved in the 1940s and was said to have been created by blacks in a way that whites could not copy (Gerard, 1998). Bebop was a response to this impasse, an attempt to reconstitute jazz--or more precisely, the specialized idiom of the improvising virtuoso--in such a way as to give its black creators the greatest professional autonomy In other words, DeVeaux argues that bebop was created by black musicians--squeezed out of regular music jobs by inferior white musicians--so that they would have something distinctive to market.

Charlie Parker’s “Ko-Ko” and Dizzy Gillespie’s “Shaw 'Nuff” on Thelonious Monk’s “Blue Monk” and Ella Fitzgerald’s “How High the Moon” (click below): The demise of the Swing Era big bands was, in part, due to World War II: the draft - many jazz musicians were called to war, leaving few at home bands raided each other, that is, with so few musicians left at home, band leaders “stole” musicians from other bands, offering them a slightly better deal; bands that were intact before the war were depleted transportation to reach night spots outside city limits was difficult due to gas shortages (gas rationing), tire shortages (rubber rationing), and the dismantling of urban and interurban railways 20% amusement tax - customers would have to pay 20 cents tax on the dollar in any nightclub that included dancing African American jazz musicians became increasingly disenchanted with swing music the more they watched European Americans capitalize on it; they wanted to create their “own” music, a music that was not for dancing but for listening: a true African American Bebop reflected the culture of the times; like the African American experience at the time, the music: In the history of entertainment, many artists have been faced with alcohol and drug addiction. The term “bebop” is an onomatopoeic reference to the accented melodic lines of the music. The advent of bebop marked an expansion of the roles of the 

Most of the music's innovators and leading voices, however, have been black Americans, the descendants of slaves. In fact, bebop's musical advances were firmly embedded in, and to a certain extent anticipated by, the best jazz players who preceded it.Bebop marks the stage at which jazz completed its transformation from entertainment into art. In most jazz performances, players play solos which they make up on the spot, which requires considerable skill. Bebop, in large part, developed through jam sessions.

Jazz and the Beat Generation As the Beat movement was getting underway, bebop was already going strong, especially in New York City, where 52nd Street was bustling with activity in jazz clubs up and down its length. 0 Comments Add a Comment. While separable, these themes of revolution tend to intertwine as a rebellion by black musicians against a white-controlled capitalist hegemony. His central thesis: "As the Swing Era inevitably cooled off, competition stiffened and the underlying inequities of race were felt with renewed force. The power of the emotions this new music tapped, combined with the alienation of its creators from the social mainstream, no doubt contributed to the high incidence of substance abuse, particularly deadly heroin addiction, which devastated their ranks.Regardless of whatever suffering accompanies artistic endeavors, there is something especially fulfilling, a profound inner joy, that arises from communicating the creative, artistic experience itself. Many black musicians resented the success of white bands and, led by Charlie Parker and Dizzy Gillespie, returned to the virtuosic combo setting. ; some of the most famous jam sessions in jazz history occurred at a nightclub called Bebop was and still is the music most played at jazz jam sessions because all the musicians need to know are the head (the song's main melody) and changes (the song's chord progression)Bebop is far more musically complex than its Big Band Swing forbearer. Since white-dominated society allowed for white artists to have easier access to bookings and high-end shows, blacks were forced to play for primarily black audiences and therefore weren’t as able to promote their music to the American masses. 5.

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