Abstract
This paper is an in-depth examination of the Blues. It begins by taking a look at the Deep South roots of the original Blues during slavery and how it began to spread north to Harlem in the late 1900s. The birth of contemporary Blues in the 1940s is detailed and it looks at some of the musicians, such as Scott Joplin who began incorporating these rhythms into their music. The next area covered is the building of the Blues, and traces the growth of different genres from the original blues. According to this author, the legacy of the blues was set, when it reached the ears of Elvis Presley, which led to the birth of rock and roll.

From the Paper
"The music that was originally known as the blues developed from a variety of hereditary and regional musical influences and practices popular among the people of the southern portion of the United States. The roots of all varieties of blues music can be traced to the southern states, particularly those that comprise the area of the nation known as the Deep South. The music originating in the hills and backwoods of Mississippi, Tennessee and Kentucky, music that has become most commonly associated with "hillbilly" bands and rhythms, is in fact a variety of the blues genre that is often referred to as "country blues" (Pooley 86). The style and genre that is most commonly associated with the blues, however, is also commonly associated with the nation's African-American sector and stems from the "Delta blues", a form of the blues that originated among the slave populations of the antebellum south and developed alongside its country "cousin" (86). This distinct musical style and form developed from the West African rhythms and beats that were brought to America by African slaves imported during the early years of slavery, rhythms and beats that were kept alive and passed down from generation to generation by the traditional music and songs of southern slaves."

Tags:musicians, south, deep, harlem, genre, rhythm, slavery, music, american, ragtime, emancipation, style, note, rock, roll

Abstract
Rock and Roll music was both influenced by and influenced the youth movement of the 1960s. The beginnings of Rock music during the 1950s were actually quite rebellious and controversial. This paper puts the development of rock music into a cultural and historical context, drawing on examples such as Wynonnie Harris, Elvis Presley, the Beatles and Bob Dylan. The paper also mentions beatniks and the psychadelic counterculture.

From the Paper
"Rock and Roll music broke into the forefront of American culture as the baby boomer generation came of age. During the 1950s, the new musical style helped young people begin to rebel against their parents' generation in a stylistic, subtle, and symbolic way, generating more differences and encouraging a widening of the generation gap. Popular culture tends to disregard the 1950s as a sterile and orderly decade, however, the youth of the 1950s were beginning to rebel much more drastically and blatantly than we are led to believe, and more so than what remains as the lasting image in the historical memory of Americans who were alive at that time. While this music that we now call "oldies" seems so boring and unhip by today's standards, the earliest Rock and Roll music contained sexual implications and a gift of immediate gratification that spoke to the so-called juvenile delinquents of the time. By the early Sixties and the beginnings of the "movement," Rock and Roll music had already established itself as a successful form of cultural radicalism, that is, an individuality of spirit and expressive form of defiance against the norm. (The "movement" collectively refers a shift to the "New Left" which supported the Civil Rights Movement, was against the Vietnam War, and opposed the Old Left Liberal methods of working within the system to end poverty and racism by means of a technocracy.) The more the youth rebelled, the more the music changed to suit this rebellion. The lyrics became more overtly political and explicit, and Rock and Roll music began to "evolve out of artistic necessity," when new ways to rebel were necessary, in order to keep on rebelling, as it were. Folk musicians began to blend their lyrics and style with Rock music, and wrote songs that were true reflections and reactions to the times and responded to the changing world. By the mid 60s, a youth "counterculture" hit the scene, and Rock and Roll had split into two breeds of music: one which served an industry and popular culture, and another type of music for political activism, which eventually infused itself in the drug-laden hippie subculture."

Tags:50s, 60s, counterculture, fifties, harris, roll, sixties

Abstract
This paper explains how Toni Morrison uses jazz and histories to explain African American displacement. t also looks at how the characters use jazz and the image of Dorcas to bring their identities full-circle. It examines, in particular, Joe and Violet's deconstruction and reconstruction and how this relates to the larger story of African American history.

From the Paper
"The story begins with the outcome of the character's displacement, a murder and an attempt at a dead girl's mutilation. Right away the reader sees the fracture which converges in acts of violence. How it came to this point is where the story lies, found in pieces hoping to be put together, Violet's crack and Joe's traces. Along with the history that could allow these individuals to come such a state; the brutalized body of slavery and post-Civil War oppression. Morrison tries to find a restructured identity in which lies the power to heal. Dorcas and jazz are instruments towards that healing (Jones 481)."

Tags:Negro, Golden, Grey

Abstract
Charlie Parker, born Charles Christopher Parker in 1920, was a product of Kansas City jazz as developed in the 1920s and 1930s. Parker is associated with the development of the Bebop style, and he was highly influential on jazz players who followed him. His life was short and tragic, marked by drug addiction and attempted suicide.

From the Paper
"Charlie Parker, born Charles Christopher Parker in 1920, was a product of Kansas City jazz as developed in the 1920s and 1930s. Parker is associated with the development of the Bebop style, and he was highly influential on jazz players who followed him. His life was short and tragic, marked by drug addiction and attempted suicide. He was 35 when he died, but his life had been so hard on him that the death certificate gave his age as 55 because that was how he appeared (Rich 47).

Bebop represents modern jazz, which emerged as a distinctive style from movements taking place from the 1920s. Ted Gioia associates bebop with the larger force of modernism, and he notes that jazz had from the first been a modernist music whose leaders always looked forward and developed new musical forms. The rise of a new and more open modernism in the 1940s seemed an abrupt ..."

Abstract
This paper provides an in depth look at the history of jazz, the early development of the music style, through African American musicians trying to create music that was uplifting; the direct opposite of the blues. The author discusses rhythm and instrumentation, numerous jazz artists and popular tunes.

From the Paper
"Jazz is associated with the African American people and this is an influence unequaled in the field of music. The true spirit of jazz arises from a revolt from convention, custom, authority, and boredom, even sorrow, from everything that would confine the soul of man. The blacks that invented it called their songs the blues, and they weren't capable of satire or deception. Jazz was their explosive attempt to cast off the blues and be happy, carefree happy, even in the midst of sordidness and sorrow. Jazz is a release of all the suppressed emotions at once. Jazz is a part of the direct process of African American music. In rhythm it goes directly back through ragtime, through the minstrel period, through the spirituals and dances to its African origin."

Tags:armstrong, new, orleans, basie, jelly, roll, chicago, african, duke, ellington, goodman, harlem

Abstract
This paper takes a look at the Jazz Age during the twenties in America and how the music both reflected and inspired great social change. The author discusses the history of Jazz music, how it originated and spread and how it came to express the nature of society.

From the Paper
"The Twenties was a crazy time in America. There was crime and violence, illegal alcohol and drugs, and dancing and jazz music. Despite the depression and prohibition, jazz music was able to lift the spirits of Americans and get their knees knocking and their arms flailing. Jazz spread like wildfire through the nation, and taught Americans how to make the best of a "depressing" situation. Some jazz represents the spontaneity and confusion of the decade while the more serious jazz shows the underlying rhythm of the twenties. If one listens to jazz music from the 1920s one can sense the mood of the times, and feel the excitement that jazz brought to the nation."

Tags:20s, age, duke, ellington, jazz, music, fun, dance, express, mood, social

Abstract
This paper analyzes the Latin-jazz piece "110 St. and 5th Ave" by Puerto Rican composer, Noro Morales, in terms of texture, metre, timbre and various other musical qualities. The paper includes background information on the emerging Latin scene in 1940s New York City, as well as traditional instruments used in Latin music.

From the Paper
"Noro Morales' piece, "110th Street and 5th Avenue" was created in the 1940's amid a thriving Latin music scene in New York City. Morales was born in San Juan, Puerto Rico to a family of prominent musicians (Morales). He achieved success as a composer and musician in his homeland, then later moved to New York in 1935. During this time period, many now-famous Latin musicians such as Tito Puente and Morales composed and experimented with various forms of Latin music. These forms included salsa, meringue, mambo, and rumba. These forms of music incorporated brass and woodwind instruments, mostly in minor keys such as the Cuban tres, above percussion. These forms of music were also lively, up-tempo, and heavily rhythmic, essentially meant for dance (Mambo). Mambo, as well as its predecessors, danzon and salsa, was derived from Afro-Cuban rhythms (Mambo). These sounds and rhythms can be heard in this piece."

Tags:clave, cuba, mambo, puente, salsa, saxophone

Abstract
The writer begins with the origins of this essential bass instrument, going into what instruments and inventions led to the creation of the tuba. It then talks about its use in both the band and orchestra settings. Finally, it shows the importance of the tuba through its uses and demands.

From the Paper
"Polka, "Oompa", whole notes, blatty, and always behind the beat: the unfortunate, but common images of tubas have often been thus. Even the players have been pictured as nothing that would improve upon the idea of the tuba. These people are usually pictured as geeky, adolescent, fat pimple-faced boys in a high school band, which is full of pig tales, snotty noses, and pocket protectors. Although I am a tuba player, and I have heard and seen such references to these images I would like to show the world, or at least those who read this paper, that the tuba and its family are very important and independent instruments in music and music literature."

Tags:brahms, brass, instruments, mahler, music, musical, wagner

From the Paper
"Near the end of the 1960s jazz trumpeter Miles Davis (1926-91) began to experiment with electronic instruments (primarily bass and piano) played by members of his groups. Within a short time Davis released two recordings, In a Silent Way (1969) and Bitches Brew (1969), that started a storm of controversy--although the latter record sold better than any album in jazz history. The problem as Davis saw it was that people were simply unprepared to listen to his new style of group improvisation because, first, it involved electronic instruments and rock beats and, second, it was too complex and unusual. But critics and fans who deplored the new direction complained that the music simply was not jazz, that Davis had "sold out" in order to attract the large white audience for rock music with a "fusion" of jazz and rock, and, in some cases, that his new music was a..."

Abstract
Jazz is a music that belongs to all races. This paper argues that, even though there have been a majority of African-American musicians in the jazz community, anyone can play it, write it, and express their feelings through it. There was music being played at the same time jazz began by other people who had a big influence on jazz, however. This paper shows that there have also been many white musicians who have made important and influential contributions to jazz. Over the last few decades, many jazz artists and critics have become vocal about their opinion about jazz and race because there are so many strong opinions about it. The writer concludes that this issue has been discussed privately since jazz became popular and that the connection between jazz and race continues to be a widely discussed topic in the jazz community.

From the Paper
"The connection between jazz music and race has been discussed since jazz first became a genre one hundred years ago. Over the last four decades, many jazz artists have become more vocal about the idea that jazz is a black music. The argument is not that all good jazz musicians are black, but that the most immediate and significant ancestors have been black. Some of the major jazz innovators such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis Thelonious Monk, and John Coltrane have been black. The view of jazz as a black music, however, is controversial. There are many that believe that jazz is not the property of just one racial group. Artists who are or were not black such as Benny Goodman, Artie Shaw Stan Getz, Bix Beiderbecke, Gerry Mulligan, Dave Brubeck, Frank Trumbauer, and Charlie Haden have also left distinguished marks on jazz. At the turn of the century, when jazz first became popular, white and black musicians were playing very similar, though not identical, forms of music. Some artists and critics claim that the jazz expression of black Americans is a creative reflection of the black experience, however, most artists see jazz as a way to express personal experience, no matter what race they are. Though the first innovative jazz musicians were black, jazz is a music that belongs to all races."

Tags:armstrong, coltrane, race, racism, shaw