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Notes This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just a
saw it as an advancement o jazz, progress o a kind and saw big band,Diieland and swing as being anti!uated, too easy to access, addist and
commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music saw it as an advancement o jazz, progress o a kind and saw
big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
"upports o Diieland, swing and big band accused the bebop mo on the -ouldy
fgs essay$
•Discuss the war between Diieland +old ashioned. jazz and the modernistbebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud toadmit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution• 0ebop advocates
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 2/21
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat andmetronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23thebest in jazz has been and always will be successul, commercial41
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 3/21
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, theact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
•
Art and commerce: The revivalists hated the success o swing bands, theact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 4/21
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
•
rom jazz&1• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species opopular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 5/21
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud toadmit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 6/21
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat andmetronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
on the -ouldy fgs essay$
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 7/21
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates
• rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• vement o being pretentious, impossible to access, or a privileged elite and
not being real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not adi/erent music saw it as an advancement o jazz, progress o a kind and saw
big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts weredrawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music saw it as an advancement o jazz, progress o a kind and saw
big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 8/21
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not adi/erent music saw it as an advancement o jazz, progress o a kind and saw
big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts weredrawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music saw it as an advancement o jazz, progress o a kind and saw
big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music saw it as an advancement o jazz, progress o a kind and saw
big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
•
"upports o Diieland, swing and big band accused the bebop movement obeing pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music saw it as an advancement o jazz, progress o a kind and saw
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 9/21
big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom thestory o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music saw it as an advancement o jazz, progress o a kind and saw
big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement obeing pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music s swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 10/21
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep itcompletely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 11/21
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
•
6evivalists started to identiy themselves and their music with olk music inan e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 12/21
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement obeing pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 13/21
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop andprogression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 14/21
Notes on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind andsaw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 15/21
Notes on the -ouldy fgs essay$
•
Discuss the war between Diieland +old ashioned. jazz and the modernistbebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& ithe musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
•
Even though it sought this status, it was spread through the culture industry,though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to%the rigidity o written language& would %vitiate& rather than %preserve& it
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 16/21
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
•
#annot separate the issues o race, gender politics and commerce rom thestory o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, theact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 17/21
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not adi/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditionalramework& o jazz +-oldy fgs.
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 18/21
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts weredrawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just asswing was, though to a smaller market
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 19/21
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not being
real jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species o
popular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the wayit was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 20/21
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just as
swing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
Notes on the -ouldy fgs essay$
• Discuss the war between Diieland +old ashioned. jazz and the modernist
bebop revolution
• 0ebop advocates saw it as an advancement o jazz, progress o a kind and
saw big band, Diieland and swing as being anti!uated, too easy to access,
addist and commercial
• "upports o Diieland, swing and big band accused the bebop movement o
being pretentious, impossible to access, or a privileged elite and not beingreal jazz
• #annot separate the issues o race, gender politics and commerce rom the
story o the development o jazz, as they are integral
• Genres and brand names$ The swing revivalists disagreed on intricacies,
but agreed broadly that a specifc piece o music could not be called %jazz& i
the musicians involved were not improvising, and whose separate parts were
drawn at least in part rom 'rican('merican rhythms
• )eonard *eather + -etronome magazine, a proponent o bebop and
progression. said that %swing& is %just another word or jazz&, that it is %not a
di/erent music rom jazz&1
• *or revivalists, swing was used to denote a very easy to see species opopular music, whereas the modernists sought to use it as a brand name1
• Art and commerce: The revivalists hated the success o swing bands, the
act that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted 23the
best in jazz has been and always will be successul, commercial41
• Folk culture and European culture: The revivalists were !uite proud to
admit that the music o )ouis 'rmstrong and 5elly 6oll -orton was %7ulgar& and
%low& art 8 they sought to distinguish themselves rom swing as being %high&
culture, with its %symphonic prentensions&
7/23/2019 No Essay 2345tyjndbvsas
http://slidepdf.com/reader/full/no-essay-2345tyjndbvsas 21/21
• 6evivalists started to identiy themselves and their music with olk music in
an e/ort to be separate rom swing
• This allowed them to defne jazz as being olk music o the negro which,
thorugh the process o commercialisation, had become
• Even though it sought this status, it was spread through the culture industry,
though papers, records and clubs, and thus was a commercial music just asswing was, though to a smaller market
• 9n this way, they sought now to criticise swing as not being too commercial,
but as being %too european&, too much a %dilution& o the %traditional
ramework& o jazz +-oldy fgs.
• Nothing more sabotaged the arican(american tradition o simultaneous
improvisation like the European arteact o written arrangements +0ernard
:endon.
• The highest cultures o ;est 'ricans didn&t commit their improvisatory works
to paper not or lack o intelligence, but rom an intellectual desire to keep it
completely ree rom restraint, believing that to commit the %jazz idiom& to
%the rigidity o written language& would %vitiate& rather than %preserve& it
• Progress and the new: To the modernist, jazz was on the up and up,
constantly changing
