Vic Hobson
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781617039911
- eISBN:
- 9781626740259
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039911.001.0001
- Subject:
- Music, History, American
This book explores how the blues became a part of New Orleans jazz. In so doing it demonstrates how the principles of barbershop harmony were applied to the instrumentation of a jazz band to produce ...
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This book explores how the blues became a part of New Orleans jazz. In so doing it demonstrates how the principles of barbershop harmony were applied to the instrumentation of a jazz band to produce jazz counterpoint. Using unpublished archive material and existing scholarship this book discuses the role that Buddy Bolden and Bunk Johnson played in the early years of jazz. It also clarifies the role that the white musicians and Creole musicians played both historically and musically in the development of jazz, the blues, and ragtime, in New Orleans.Less
This book explores how the blues became a part of New Orleans jazz. In so doing it demonstrates how the principles of barbershop harmony were applied to the instrumentation of a jazz band to produce jazz counterpoint. Using unpublished archive material and existing scholarship this book discuses the role that Buddy Bolden and Bunk Johnson played in the early years of jazz. It also clarifies the role that the white musicians and Creole musicians played both historically and musically in the development of jazz, the blues, and ragtime, in New Orleans.
Vic Hobson
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781617039911
- eISBN:
- 9781626740259
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039911.003.0004
- Subject:
- Music, History, American
This chapter discusses the relationship between African American song and barbershop harmonic practices using Sigmund Spaeth’s fundamental barbershop cadences and the New Orleans folklore ...
More
This chapter discusses the relationship between African American song and barbershop harmonic practices using Sigmund Spaeth’s fundamental barbershop cadences and the New Orleans folklore transcriptions of R. Emmet Kennedy. This chapter also discusses the widespread practice of quartet singing among New Orleans musicians and confirms that Buddy Bolden and his band sang in a “barroom quartet.” Bolden is said to have picked off the notes that the quartet sang on his cornet.Less
This chapter discusses the relationship between African American song and barbershop harmonic practices using Sigmund Spaeth’s fundamental barbershop cadences and the New Orleans folklore transcriptions of R. Emmet Kennedy. This chapter also discusses the widespread practice of quartet singing among New Orleans musicians and confirms that Buddy Bolden and his band sang in a “barroom quartet.” Bolden is said to have picked off the notes that the quartet sang on his cornet.
Vic Hobson
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781617039911
- eISBN:
- 9781626740259
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039911.003.0009
- Subject:
- Music, History, American
This chapter concludes that the blues, including the twelve-bar form of the blues was played in New Orleans by Bolden and his contemporaries. It also concludes that the principles of barbershop ...
More
This chapter concludes that the blues, including the twelve-bar form of the blues was played in New Orleans by Bolden and his contemporaries. It also concludes that the principles of barbershop harmonization underpinned the tonality of the blues and gave rise to jazz counterpoint. Given that quartet harmonisation was widespread, and brass instruments readily available throughout the South it is unlikely that New Orleans is the unique birth place of jazz. For the same reason it is unlikely that Bolden was literally the first person to perform jazz. He was however the first to introduce this music to a wider public with the opening of Johnson and Lincoln Parks in 1902. Bunk Johnson played with bunk and pioneered jazz alongside Bolden. He should be recognised as a jazz pioneer.Less
This chapter concludes that the blues, including the twelve-bar form of the blues was played in New Orleans by Bolden and his contemporaries. It also concludes that the principles of barbershop harmonization underpinned the tonality of the blues and gave rise to jazz counterpoint. Given that quartet harmonisation was widespread, and brass instruments readily available throughout the South it is unlikely that New Orleans is the unique birth place of jazz. For the same reason it is unlikely that Bolden was literally the first person to perform jazz. He was however the first to introduce this music to a wider public with the opening of Johnson and Lincoln Parks in 1902. Bunk Johnson played with bunk and pioneered jazz alongside Bolden. He should be recognised as a jazz pioneer.
