File Name: charlie parker his music and life .zip
In he led his own group while performing with Dizzy Gillespie on the side and together they invented bebop.
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Saxophonist Charlie Parker was one of the most innovative and influential jazz musicians of any era. As one of the architects of modern jazz often called "bebop" , Charlie Parker has had a profound effect on American music.
His music reached such a high level of melodic, rhythmic, and harmonic sophistication that saxophonists and other instrumentalists continue to study it as both a technical challenge and an aesthetic inspiration. The musical discussions and transcribed musical examples include timecodes for easy location in recordings—a unique feature to this book. Music students will find Woideck's informed analysis of much interest; and the general reader will benefit from a greater appreciation of the skill and creativity of this highly influential artist.
In doing so, he makes a much-needed case for jazz as an art equally as worthy of serious inquiry as classical music. Although the book is mostly devoted to analyzing Parker's music, it begins with a biographical sketch that seeks to dispel some of the myths that have bedeviled the musician since his death in at the age of Through well-researched anecdotes as well as musical analysis, Woideck, a saxophonist who teaches jazz history at the University of Oregon, illustrates how Parker's genius sprang from a fortuitous confluence of talent and circumstance.
If the book does nothing else, it debunks the stereotype that jazz musicians are unschooled and unsophisticated when it comes to music as art rather than entertainment. As Woideck makes clear, Parker's art was the product of a fertile mind that set challenges for itself, and met those challenges in the studio and on the bandstand. As surely as the saxophonist was an entertainer, he was also an artist. Parker's contribution to American music was as great as that of Louis Armstrong—another genius and innovator who has been similarly underappreciated and misrepresented.
Woideck is to be commended for getting past the trap of presenting Parker as a tragic artist in favor of concentrating on his art—and on the meaning of that art for the nation and the world. Charlie Parker is not the last word on Bird.
But it is certainly an insightful and informative addition to the literature of jazz. Woideck meticulously analyzes the various ways in which Bird grew from a talented young disciple to the most influential musician of his time and, ultimately, one who relied increasingly on reiteration of earlier licks instead of further innovation.
He takes us to the music itself, painstakingly transcribed from recordings. He walks us through the melodies and harmonies of Bird's characteristic works. Woideck identifies 13 qualities and traits found in Parker's music, including poetic depth, the range of tempos, and the melodic building blocks. Woideck is a saxophonist and Jazz educator, and the book is an outgrowth of his Master's thesis on Parker's earliest work. There's a brief life of Parker pgs.
In all, Woideck examines 90 short transcribed passages, and an appendix includes a complete solo transcriptions from each of the four periods. One highly useful feature of the book is that musical examples are keyed to the times at which they appear on CDs, making it much faster and certainly easier to find them.
It's a small step toward making musicology user-friendly. In general, he [Woideck] does a fine job of balancing analysis, verbal description of music, and biography. Those who read music and have some knowledge of harmony will get the most out of it, but Woideck has gone to some lengths to make his book accessible to others with an interest in the musical structures of Jazz.
Whatever background you bring to it, the book will likely enrich your understanding of Parker's music, and that's as much as one can ask of any book on the subject. While the untrained reader will likely find it rather rough going, Woideck has worked hard to keep his analysis accessible to anyone with a basic understanding of music. DOI: Except where otherwise noted, this work is subject to a Creative Commons Attribution 3.
Charlie Parker has been the subject of numerous books since his death in Many of the most popular books can only offer a brief synopsis of Parker's early life as unsurprisingly, little was known of these years. Writers and journalists, when writing about Parker, accept the established view found in these books and referred to what was assumed to be fact. Unfortunately, many of these biographies relied on interviews and personal recollections, reduplicated stories, untruths, and perhaps a touch of the author's literary licence too! The 'biography' had been written and confirmed so often that over the course of the past 50 years, this common 'biography' of Charlie Parker came to be accepted as 'the facts'.
Undoubtedly one of the most famous alto saxophone players in history, Charlie Parker was a central figure on the s jazz scene — as well as an influence on much of what has come since. The alto saxophonist was a pioneer of the bebop movement that emerged in the United States in the s, laying the groundwork for much of the jazz that was to follow in the subsequent decades. His short life was beset by well-publicised personal problems and addiction, but still he can claim to be among the most important musicians of the 20th Century and one of the greatest improvising soloists in jazz history. Charlie Parker began playing the saxophone aged 11, and in the mids began to practise diligently. In an incident took place that would become the stuff of legend.
Table of Contents · Contents · p. ix · restricted access Download PDF Download Save. Save contents.
Bird: The Life and Music of Charlie Parker
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Она посмотрела на светящиеся мониторы Стратмора, бросилась к его письменному столу и начала нажимать на клавиши. Отключить ТРАНСТЕКСТТеперь это нетрудная задача, поскольку она находится возле командного терминала. Она вызвала нужное командное окно и напечатала: ВЫКЛЮЧИТЬ КОМПЬЮТЕР Палец привычно потянулся к клавише Ввод.
И, словно возражая ей, в ее мозгу эхом прозвучали слова Хейла, сказанные чуть раньше: Танкадо не раз мне писал… Стратмор сильно рисковал, взяв меня в АНБ… Рано или поздно я отсюда слиняю. Но Сьюзан физически не могла примириться с тем, что увидела. Да, Грег Хейл противный и наглый, но он же не предатель. Зная, чем грозит агентству Цифровая крепость, не мог же он участвовать в заговоре по ее созданию. И все же Сьюзан понимала, что остановить Хейла могут только его представления о чести и честности.
Вот. Он печально на нее посмотрел.
Бледная, жуткая в тусклом свете мониторов фигура застыла, грудь шефа тяжело вздымалась. - Ком… мандер! - вскрикнула она от неожиданности. - Хейл в Третьем узле. Он напал на .
Беккер посмотрел на нее в полном недоумении. - Зачем вам деньги? - спросил. Я не собираюсь оплачивать твое пристрастие к наркотикам, если речь идет об .
В ярком свете уличного фонаря на углу Беккер увидел. Молодые люди поднялись по ступенькам, и двигатель автобуса снова взревел.
Это тебе велел Фонтейн? - спросила. Бринкерхофф отвернулся. - Чед, уверяю тебя, в шифровалке творится что-то непонятное.
Вот. Если АНБ в состоянии вывести пять риолитовых спутников на геостационарную орбиту над Ближним Востоком, то, мне кажется, легко предположить, что у нас достаточно средств, чтобы подкупить несколько испанских полицейских. - Его доводы звучали волне убедительно.
Это не вирус? - с надеждой в голосе воскликнул Бринкерхофф. Джабба презрительно хмыкнул.
Кольцо словно исчезло у него из-под носа. Это совсем не обрадует коммандера Стратмора. Клушар приложил руку ко лбу. Очевидно, волнение отняло у него все силы.
ГЛАВА 122 - Шесть минут! - крикнул техник. Сьюзан отдала приказ: - Перепечатайте сверху. Нужно читать по вертикали, а не по горизонтали. Пальцы Соши стремительно забегали по клавишам.
Я же говорила. От этого кольца мне было не по. На девушке было много украшений, и я подумала, что ей это кольцо понравится.