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The early musical development of Lou...

Harker, Brian Cameron.

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The early musical development of Louis Armstrong, 1901-1928.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The early musical development of Louis Armstrong, 1901-1928./
Author:	Harker, Brian Cameron.
Description:	394 p.
Notes:	Source: Dissertation Abstracts International, Volume: 58-09, Section: A, page: 3356.
Contained By:	Dissertation Abstracts International58-09A.
Subject:	Biography. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9809722
ISBN:	9780591602302

The early musical development of Louis Armstrong, 1901-1928.
Harker, Brian Cameron.

The early musical development of Louis Armstrong, 1901-1928. - 394 p.

Source: Dissertation Abstracts International, Volume: 58-09, Section: A, page: 3356.

Thesis (Ph.D.)--Columbia University, 1998.

For most jazz historians, cornetist-trumpeter and singer Louis Armstrong (1901-1971) made his greatest contribution as an innovative soloist in the twenties who helped shape the future of jazz. This dissertation attempts to identify, describe, and trace the origins of important traits of Armstrong's early style through recordings he made as a leader and sideman with bands in Chicago and New York.

ISBN: 9780591602302Subjects--Topical Terms:

531296
Biography.

The early musical development of Louis Armstrong, 1901-1928.
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245 1 4 $a The early musical development of Louis Armstrong, 1901-1928.
300 $a 394 p.
500 $a Source: Dissertation Abstracts International, Volume: 58-09, Section: A, page: 3356.
500 $a Sponsor: Mark Tucker.
502 $a Thesis (Ph.D.)--Columbia University, 1998.
520 $a For most jazz historians, cornetist-trumpeter and singer Louis Armstrong (1901-1971) made his greatest contribution as an innovative soloist in the twenties who helped shape the future of jazz. This dissertation attempts to identify, describe, and trace the origins of important traits of Armstrong's early style through recordings he made as a leader and sideman with bands in Chicago and New York.
520 $a Armstrong's iconoclastic tendencies took root in his hometown, New Orleans, where the flamboyant virtuosity of local clarinetists made a deep impression. When Armstrong moved north in the early twenties, listeners were struck by the clarinet-like figurations and high notes in his cornet solos. Armstrong also captivated northern audiences with his intense rhythmic "swing," a complex conception involving, among other things, accented upbeats, upbeat to downbeat slurring, and complementary relations among rhythmic patterns. Not everything about Armstrong's playing was revolutionary. During a year in New York Armstrong made his first records as an accompanist to blues singers, revealing his mastery of the traditional blues idiom exemplified by New Orleans cornetists King Oliver and Tommy Ladnier. And in 1925 Armstrong returned to Chicago and began playing arrangements of classical and classically-influenced music in Erskine Tate's Vendome Theater Orchestra.
520 $a At the same time he inaugurated a series of New Orleans-style jazz recordings that has since become historic: the Hot Fives and Hot Sevens. In these recordings Armstrong wove together the diverse strands of his musical experience into a robust and coherent style, thereby transforming the New Orleans idiom and, for many critics, launching the art of jazz itself. Armstrong's best performances of the late twenties exhibit unprecedented power and brilliance in the upper register, fluency of arpeggiated solo construction, a structural logic unusual for jazz musicians of the time, and a supple tension between "high" and "low" musical styles embodied in such traits as triadic extensions and tempo rubato on the one hand, and evocations of the blues--such as pitch smears and blue notes--on the other.
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