Similarities Between Classical Music and Ellington\'s Jazz

The Similarities Between Classical music and Ellingtons contend\n\nOne of the sterling(prenominal) tragedies in the 20th light speed displace be seen in the debasing of the idle words musical style as a sickening equal to its predecessor, European Classical music. This can be seen in various statements well-nigh cognize, such as Boris Gibalin commit, The discern Mania has taken on the character of a linger illness and must be cured by inwardness of forceful intervention.1 This contravention can be traced through and through out the history of Jazz, as Classical composers have relatively brush offed this new example of music. Before Duke Ellingtons cotton Club performances, Jazz laugher on the radio was delegated for later(a) night audience only. This sub-culture intervention has led many critics to disregard the Jazz movement as a dance craze, or unsuccessful recreations of Classical pieces. This slandering of Jazz has not only created a wrong image of the mus ic, entirely it has also lead to a luxuriant disconnection among the two genres. It is for this reason that I propose in my makeup to show the relationship in the midst of these two musical categories. My hopes in demonstrating these similarities is to disassemble the snag of ignorance create between the two, and place twain Jazz and Classical music on equal footing.\n\nCritics of Jazz have always perpetuated this schism by utilizing the reasoning place Jazz, that of it being a turn form interpretation, to question the genuineness of calling a Jazz leader a composer. For how can one be styled as a proper composer and hush up remain true to the traditional Jazz concepts? The classic composer has at their disposal highly technical musicians who are trained to bring within professional bodies, such as a symphony orchestra or string quartet, and who then(prenominal) relies on the efficiency of these professionally trained bodies to interpret his rack up as he sees fit. On the surface this appears to run mutually exclusive to the Jazz composer whom, Has to write for proper(postnominal) combinations which do not cost until he brings them into being, and to rely on highly individual executants whose in the flesh(predicate) style must be blended together to give out expression to his own ideas withoutlosing their individuality.2 Yet to interpret this intermix of highly individualistic sounds as proof of a schism between this and the rigidly organise Classical composer is a false impression.\n\nThis fallacy can be attributed to overemphasizing the sporadic and improvisational aspects of Jazz and refusing to...If you indispensability to get a full essay, order it on our website:

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