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Bebop

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Carolus Parker, tibicen saxophoni alti, fuit unus e maximis aevi bebop musicis et compositoribus. Hic videtur cum Thoma Potter, Maximo Roach, et Milite Davis in Three Deuces, sodalitate Novi Eboraci constituta.
Dizzy Gillespie in Downbeat Club Novi Eboraci circa 1947.
"Contra explanationes originum horum verborum, actores verba bebop et rebop in prima locutione bop revera cecinerunt, ut in exemplo sequente monstratur."[1][2] Sono Play info
Nonnulli musici bebop lumina in 52nd Street sunt, Maio 1948.
Thelonius Monk, Howardus McGhee, Roy Eldridge, et Theodorus Hill ante Minton's Playhouse, Novi Eboraci, Septembre 1947.

Bebop, vel bop, est genus musicae iaz cuius proprietates sunt tempus rapidum atque virtuositas instrumentorum musicorum et perfunctionis extemporaneae in mixtura structurae harmonicae et aliquando significationum melodiae conditae. Quod annis 1940 primis et mediis evolvebatur. Hoc genus ad ultimum synonymum iazz moderni factum est, quia ambo genera certam maturitatem ultimam annis 1960 attigerunt.

Bebop evolutum est cum iunior musicorum iazzensium aetas in animo haberet modum swing popularem contradicere per novam musicam quae non saltari poterat et meram auscultationem poposcit.[3] Bebop, quia non iam musica saltationis erat, sivit ut musici temporibus rapidioribus utebantur. Qui praeterea harmonias provectas, syncopationem multiplicem, chordas commutatas, substitutiones chordarum, phrases asymmetricas, melodias contortas, rhythmosque inauditos explorabant. Grex bebop classicus in saxophono, trompa, clavile, basso duplice, et apparatu tympanorum consistit. Inter artifices bebop magni momenti fuerunt: Dexter Gordon, Sonny Rollins, et Ioannes Coltrane, saxophonum tenor; Carolus Parker, saxophonum altum; Fats Navarro, Clifford Brown, et Dizzy Gillespie, trompa; Bud Powell et Thelonius Monk, clavile; Carolus Christian, cithara; et Maximus Roach, apparatus tympanorum.

Musici[recensere | fontem recensere]

Notabiles musici bebop exponentes fuerunt:

Notae[recensere | fontem recensere]

  1. Anglice: "In spite of the explanations of the origins of these words, players actually did sing the words 'bebop' and 'rebop' to an early bop phrase as shown in the following example."
  2. Tanner et Gerow 1964:81.
  3. Lott 1988.

Bibliographia[recensere | fontem recensere]

  • Baillie, Harold B. 1987. Swing to Bop: An Oral History of the Transition of Jazz in the 1940s. Oxoniae: Oxford University Press.
  • Berendt, Joachim E. 1975. The Jazz Book: From Ragtime to Fusion and Beyond. Conv. H. et B. Bredigkeit, cum Dan Morgenstern. Westport Connecticutae: Lawrence Hill & Co.
  • Deveaux, Scott. 1999. The Birth of Bebop: A Social and Musical History.' Berkeleiae: University of California Press.
  • Feather, Leonard. 1977. Inside Jazz. Da Capo. Editio prima: Inside Bebop (1949).
  • Giddins, Gary. 1987. Celebrating Bird: The Triumph of Charlie Parker. Novi Eboraci: Morrow.
  • Gioia, Ted. 1997. The History of Jazz. Oxoniae et Novi Eboraci: Oxford University Press.
  • Gitler, Ira. 1983. Jazz masters of the 40s. Da Capo.
  • Gitler, Ira. 2001. The masters of Bebop. Da Capo.
  • Jamin, Jean. 2001. Au-delà du Vieux Carré, Idées du jazz en France. L’Homme 158–159:285–300.
  • Lott, Eric. 1988. Double V, Double-Time: Bebop's Politics of Style. Callaloo 36:597–605.
  • Martin, Denis-Constant. 2001. De l’excursion à Harlem au débat sur les «Noirs», Les terrains absents de la jazzologie française. L’Homme 158–159:261–278.
  • Owens, Thomas. 1996. Bebop: the music and its players. Oxford University Press.
  • Panassié, Hugues. 1965. La Bataille du jazz.
  • Rosenthal, David. 1992. Hard bop: Jazz and Black Music, 1955–1965. Novi Eboraci: Oxford University Press.
  • Tanner, Paul O. W., et Maurice Gerow. 1964. A Study of Jazz. Ed. 2a. ISBN 0697035573.
  • Tirro, Frank. 1967. The Silent Theme Tradition in Jazz. The Musical Quarterly 53(3):313–334.

Nexus externi[recensere | fontem recensere]