Bebop

E Vicipaedia
Charlie Parker, saxophonista inter maximos musicos aevi bebop numeratus, una cum Thoma Potter, Max Roach, et Miles Davis coram populo prodit 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, Septembri 1947.

Bebop est genus musicae jazz cuius proprietates sunt tempus rapidum ac dexteritas instrumentorum musicorum et perfunctionis extemporalis suspensa mixturà structurae harmonicae, usùs graduum sonorum nec non significationum melodiae per occasionem factarum. Bebop primis et mediis annis 1940 effecta est. Quo factum est, ut hic modus canendi ad ultimum jazz moderna esse putaretur, quia utrumque genus certam maturitatem annis 1960 attigit.

Bebop orta est, cum iuventus jazzicorum modum popularem musicae swing superare vellet novis introductis musicae modis ad saltandum minus aptis, qui nihil nisi attentas aures poscerent.[3] Quia non iam ad modos bebop saltabatur, temporibus rapidioribus uti licuit. Musici bebop praeterea harmonias provectiores, syncopas multiplices, alternationes et extensiones substitutionesque chordarum, phrases asymmetricas, melodias plectiles, rhythmosque inauditos explorabant. Grex bebop in saxophono, trompeta, cithara, clavili, contrabasso tympanorumque apparatu consistere solebat.

Musici[recensere | fontem recensere]

Hi sunt, qui musica bebop maxime innotuerunt:

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]


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