Funk is a genre that is difficult to describe because it has a lot of different characteristics. Although, when looking at an artist within this genre, for example George Clinton, it is possible to get a good idea of funk. He might be the best example of a 20th century Afrofuturistic funk artist. When you look at a concert of his album “The Mothership Connection”, several Afrofuturistic aspects are visible. Together with the Parliament and Funkadelic (later on emerged and became P-Funk), Clinton created a mixture of “funk and jazz with electronic sounds that edges their musical playfulness toward political commentary” (English, 2013).
Rock, like jazz, also usually features very much improvisation. However, it is difficult to really pin down the differences between rock and other genres, as there is really no specific sound to rock. Some sounds are more common than others, but there is no uniformity. The most notable distinction between rock and other genres is therefore not the sound, but the themes. Rock is the sound of revolution; it is, typically, music for the younger generation.
Studies say that in spite of the fact that Ellington 's music originates from the jazz convention, it is inappropriate to mark it as simply jazz music. Ellington believed that he didn’t create jazz music, he says he creates music for black folks when people asked him about his music. Truth be told quite a bit of his music is closer to European traditional music.
Its fascinating how a joyful parade can suddenly be made sullen, as if the power of a band over its listeners knows no bounds. I have never witnessed a funeral march, but I can only imagine it to be harrowing experience. New Orleans is not the only city to be historically attached to a particular band--somehow, The E Street Band is so much the epitome of New Jersey that it’s named after a physical strip--but it is a city with a unique set of cultural traditions reminiscent of the jazz era. While its structures may not be ideal residents, which is in itself an understatement, the music of the city is passionate and a collective experience in the best and worst of times still today. Music and its icons, from Duke to Armstron, weather the storm, even after
The Power of Art ¨Trumpeter of Lenox and 7th / through Jesse B. Semple,/ you simply celebrated Blues and Bebop / and beling black before / it was considered hip.¨ (Wesley Boone). Although the poems ¨Long Live Langston¨ by Wesley Boone, and ¨The weary Blues¨ by Langston Hughes were written in different time periods and with different purposes, the poems show similarities such as using similar figurative language to express an idea, and differences such as communicating different themes. Here are some examples of the similarities and differences shown throughout the poems. To begin with, in the poems ¨Long Live Langston¨ by Wesley Boone, and ¨The Weary Blues¨ by Langston Hughes, the authors include similes in their work, which helps the reader understand the similarities between the poems.
Black Lives Matter is a subject that has been controversial in the nation. Macklemore uses this as an example in his song in order to express how since he is white he cannot speak out because he is privileged. He has never faced brutality or knows how it feels to be in the shoes of an African American person. In the article by Stuart Hall he states, “Any sound, word, image or object which functions as a sign, and is organized with other signs into a system which is capable of carrying and expressing meanings is, from this point of view, ‘a language’” (Hall 5).
The poem is written in a blues poem structure, which means that it is derived from musical tradition of blues with certain elements coming from African-American dialect. A blues poem such as this is usually connected to themes of struggle and loneliness, which can be related to the word “weary” in the title. Similar to a blues song, blues poems also often feature a repetition of phrases in order to emphasize these themes (“Poetic”). “He did a lazy sway / He did a lazy sway” (6-7), “Ain’t got nobody in all this world /
I just wanted to go back to the jazz world I once knew so well. (qtd. in Lee 163) This is what Dorsey felt while creating “Precious Lord, Take My Hand.” Locking himself in a room he began to play an old familiar tune, “Must Jesus Bear the Cross Alone?”
Stravinsky only used short motifs or excerpts from melodies rather than a complete phrase - this became much more apparent in his compositional style from The Rite onwards. While composers previously had attempted to extract motifs to some degree, none had taken it to this extent. More often there would be a section dedicated to the folk tune rather than Stravinsky’s two-three measure motif which he repeats as an ‘ostinato’. As many of the rhythms on folk music would be quite dancelike, Stravinsky almost ‘denounces’ western rhythms which becomes a common concept in
s the impossibility of a single meaning, and instead, invokes an acceptance of plurality. In the jazz reading of the text, Reed refuses the linear narrative of influence or tradition. Rather, he chips away at the conventions of unity and coherence from the sphere of narrative and identity formulation. Much like the fluidity of jazz, the Jes Grew, Reed’s metaphor for this fluid energy, lives within his rewrite of black cultural history. In the early pages of the novel, the narrator criticizes those who wish to seek and “…interpret the world by using a single loa” and implies that any rigid definition of black essence would be “…like filling a milk bottle with an ocean”