Ornette Coleman Paper Essay Example for Free

Ornette Coleman Paper Essay Ornette Coleman is one of the most influential artists in jazz and considered an American icon and legend. There are not many musicians that emerge who dramatically changed the way we listen to music. Ornette Coleman was of the major innovators of free jazz as well as a great saxophonist and composer. Coleman’s bluesy, playful music revolutionized jazz by ignoring regular harmonies and rhythm. He even created his own theory â€Å"harmolodic† and applied it to rock instrumental in his group Prime Time. The musician’s new style helped to regenerate jazz by allowing for the genre to go into a new direction and be placed for his music to be placed in a group of major 20th century composers. This paper will discuss how Ornette Coleman borrowed from the world of jazz to influence concert hall compositions. Ornette Coleman was a revolutionary saxophone player who expanded contemporary boundaries of music. He gained those remarkable skills by teaching himself how to play saxophone at the age of 14 and by playing with musicians in local rhythm and blues bars while growing up in Fort Worth, Texas in the late 1940s and early ‘50s. Some of his legends include Charlie Parker and two local musicians in Fort Worth Ben Martin and Reed Connors. Coleman loved Charlie Parker and bebop and thought of it as the most advanced collective way of playing a melody and at the same time improvising. Parker taught Coleman many lessons especially about the quality of what he could play and knowing the audience (Ratliff 63). The musician decided to travel to L.A. and played in various establishments. He eventually made his way to New York with his first band having a good sense of melody and ideas of playing without any preconceived chord changes (Ratliff 55). People thought of him as a genius and others denounced him as a charlatan. His music was considered controversial for instance in his quartet th ey had no chordal instruments such as the piano. Listeners said his music was radically rejecting jazz traditions, but a few praised him and said the music was an extension of the historical practice (Martin,Waters). As he was traveling  in RB jazz bands across the country, he switched back and forth between alto and tenor sax. Resistance was normal for Coleman, and he was use to being fired. In 1950, he wrote an unpublished book that deals with a theory that melody has nothing to do with harmony, chords, or key centers. In 1958, he formed his own band that was established on a mode of playing which no one player had the lead but anyone could come out and play at any time. Beginning in 1959, Coleman and his quartet went to New York and developed the concept of free jazz (George-Warren and Pareles). Free jazz and improvised music did away with any of the strict forms of jazz and classic music such as tonality, chord changes, formal shape and structure, etc. Coleman was put into the category along with Cecil Taylor and Albert Ayler, and they abolished the traditional hierarchy of instrumentation in jazz, classical rock, and pop allowing for any instrument to be equal in improvising. Many performers were encouraged by these individuals to go beyond the regular technique to develop â€Å"extended† techniques (Cox, Warner 252). Coleman’s group debut in New York was unlike anything anyone had ever heard. The bassist or drummer did not function in a conventional rhythm sense, and there was no piano to provide chordal harmonies. When Coleman played with his group, they did not have any idea what the end result would be. The group was even able to get the attention and approval from conductor-composer Leonard Bernstein and composer Virgil Thompson along with other writers and painters (Europe Jazz Network). Each player in his group contributed what he felt in the music at any moment, and each member is not told what to do but play what they hear in the piece themselves. He also stated that in a sense that there is no start or finish to any of his music, but there is a continued expression, continually evolving strands of thoughts that link all of his compositions together (Coxer, Warner 254). Other things that summarized Coleman’s style of music include: fragmented, pointed melodies, melodic connections based on motive structure and large-scale gestures and abstract relations among pitches, little or no use of conventional harmony and voice leading, but solos often have loose shifting tonal centers, variety of melodic rhythm, nasal insistent tone, loose rhythms, use of middle and upper range o n instrument, passionate expression, and deviation from standard intonation (Martin, Waters 271). Coleman started to explore different music possibilities by mixing and  extending elements of honky-tonk, blues, funk and bebop in areas of harmony, rhythm and the melodic structure. His musical styles alienated him from the jazz world that musicians walked off the stage when he showed up for a show. His new innovations later became known as â€Å"harmolodic†, which helped change jazz by pointing it in a direction away from the musical styles of bebop, but also established a place in a group of major 20th century composers such as Charlie Parker, Harry Partch, Charles Ives, and John Cage (Europe Jazz Network). From 1962 to 1965, Coleman withdrew himself from the spotlight and taught himself to play the trumpet and violin. He began to turn his attention to writing compositions for various musical forms such as woodwind quintets, chamber orchestras, string quartets, symphonic works and vocal works. This is the point in his life where his music began to affect the concert hall. The first public performance of one his pieces was the string quartet piece Dedicated to Poets and Writers. Performances of some of his works are scarce and have not been performed or recorded. The release of his two pieces Saints and Soldiers and Space Flight performed by the Philadelphia Orchestra cleared the way for his most famous piece Skies of America symphonic suite. The piece is scored for jazz ensemble and orchestra and debuted in 1972 at Newport in New York Festival and recorded by the London Symphony Orchestra (George-Warren and Pareles). This work stands as Coleman’s harmolodic manifesto. There are some themes that people can recognize. Coleman enters the scene halfway through the piece with his saxophone during â€Å"The Artist in America†. His modulations have a fresh, sometimes abrupt sound as a result of movement of the melody and the chords. There are a number of different c hord changes which are considered correct even though it does not sound correct. Throughout the piece the works of Charles Ives comes to mind with the jumble of melodies and heavy densities. The entire work introduced his â€Å"harmolody† theory in which harmonies, rhythms, and melodies function independently and equally (George-Warren and Pareles). The theory relates to the use of similar melodic material in different clefs and keys, producing a texture of predominately parallel motion (Martin, Waters 271). He wanted to be like famous musicians George Gershwin, Duke Ellington, and Charles Mingus so that he could help break down boundaries between â€Å"modern jazz† and â€Å"serious concert† music. Coleman translates his ability as an improviser into orchestral terms. With his  orchestral works, he was able to create a peculiar timbre and certain licks unlike any other composer writing orchestral works. During the 1970s Coleman’s musical horizons continued to expand. He formed the group Prime Time which incorporated rock and funk rh ythms and melodic fragments similar to RB music along with its harmonic possibilities. The free jazz/classical composer now created dance music that combined elements of jazz, funk, RB, and rock with an unusual mix of instruments two guitarists, two drummers, two bassists, Coleman on the sax, violin, and trumpet. This group’s music included multi-layered melodies, polytonal and polyrhythmic textures which were defined as harmolodics. This style shaped more music other than jazz, and Coleman’s music influenced affected many rock musicians during the 70s especially Frank Zappa (Europe Jazz Network). While Coleman influenced rock musicians, he continued to diversify his music and became interested in African cultures. He traveled throughout Africa with Prime Time and created a new album Dancing in Your Head featuring field recordings with the group while they were working with tribal musicians in Morocco. In the 1980s Coleman revised and completed Skies of America after being commissioned by Caravan of Dreams, an arts center that opened in his hometown of Fo rt Worth, Texas. Coleman continued to write for all instrumentation and group sizes. He continued compositions for the concert hall such as the Meet the Modern series and The Sacred Mind of Johnny Dolphin. His group Prime Time eventually mixed ac (Martin and Waters)oustic and electric instruments. In 1993, his most monumental recordings from Atlantic were released in a box set entitled Beauty Is a Rare Thing. He went on to be inducted into the American Academy of Arts and Letters and was featured by the New York Lincoln Center which hosted a festival of his works featuring a performance of the Skies of America by the New York Philharmonic and surviving members of his band Prime Time (Europe Jazz Network). One of the greatest jazz artist and composer of all time is Ornette Coleman who influenced music for the concert hall and popular music genres such as jazz and rock and roll. His music for the concert hall was innovative and creative as stayed true to his artistic style and capabilities. One of his most influential pieces for the concert hall was Skies of America which helped blend many different styles of music into an orchestral work. Individuals were influenced by his pioneering work in  creating free jazz and the use of improvisation styles as well as his newly created harmolodic theory. Coleman was not afraid to step out on the limb to perform and create music without boundaries and that did not follow the traditional Western theory practices. He did receive a lot of criticism for his approach but affected and changed many by his abilities. Bibliography Cox, Christoph and Daniel Warner. Audio Culture: Readings in Modern Music. Change of the Century. New York: The Contiuum International Publishing Group, 2004. Europe Jazz Network Musicians . 20 February 2010 http://www.ejn.it/mus/coleman.htm. George-Warren, Holly and Jon Pareles. Rolling Stone Encyclopedia of Rock And Roll. Ornette Coleman. Boston: Simon Schuster , 2001. Martin, Henry and Keith Waters. Jazz: the frst 100 years. Belmont: Thomas Schirmer, 2006. Music, The Jazz Ear: Conversations Over. Ratliff, Ben. I Know Who You Are Ornette Coleman. New York: Henry Holt and Company, LLC, 2008.

Essay --

In Defence of Terror and Liberty This essay is a summary of the first two chapters of â€Å"In Defence of Terror and Liberty.† It takes into cognizance important points raised by the book in regard to the French Revolution. The first part of the summary deals with chapter 1 of the book while the second one summarizes chapter 2 of the same book. The first chapter to discuss is â€Å"The Emotions in the Demand for Terror.† To the French people, the Revolution was a national project which was to be undertaken by all bonafide citizens of the country. Also, they viewed the Revolution as a fight to defend their basic rights. This chapter of this book presents a lot of points in connection with the Revolution. The first point is that the people’s feelings are closely tied to events which further elicited more reactions. One of such events happened in 1793: the death of Marat. In the quotation, â€Å"the death of Marat aroused a feeling of dread in the people of Paris. This dread was initially sublimated in the form taken by Marat’s funeral ceremony, before being turned into a popular demand for vengeance and terror.† In the quotation above, the events that was closely tied to the demand for vengeance is the manner Marat’s death. Apparently, Marat was a revolutionist who died while fighting for what they believed in. The way Marat died elicited dread, which is one of the basic ingredients that unified the people to request for the addition of terror to their defense when defending themselves against their enemies. To have a firm grip of why dread was a stimulus, it is essential to understand the people’s belief in regard to freedom. The second point highlighted by this chapter is that the death of a martyr is considered as a tragedy which demands ve... ...t not be desecrated by anyone. Attempts to do so were met with a fight. These are highlighted by skirmishes among revolutionists. Having read through the book, I find it both technical and interesting to read. It is technical because the choices of words and sentence structure were top-notch and efforts were not spared at making the paper interesting. Further, after reading the book, it seemed as if I was reading the French Revolution for the first time because it gave detailed analysis of facts which could easily elude the public. Conclusively, I did have ‘enough’ knowledge of the Revolution before reading this book. However, I had not read these parts of the Revolution before in any book. The first few facts I encountered in chapter one whet my appetite to read further. Eventually, I read the book and feel more knowledgeable on the Revolution which shook France.

Hamlet Love for Ophelia

Hamlets Love For Ophelia Although the play Hamlet was written nearly 450 years ago by William Shakespeare, scholars still pose the question, â€Å"Did Hamlet really love Ophelia? † I believe Hamlet had feelings for Ophelia, but he never demonstrated true love for her. Several times in the play Hamlet denies his love for Ophelia. If he truly loved her, he would not want to hurt her. When Hamlet accidently killed Polonius, he did not try to console Ophelia. If he truly loved her, he would have been at her side to provide comfort in her time of grief.Even at Ophelia’s funeral, he did not profess his love for Ophelia. If he truly loved her, he would have proclaimed his love for her to those present at the funeral. Hamlet’s actions prove that he didn’t have true love for Ophelia. The first time Hamlet denies his love for Ophelia is in Act III Scene I. Hamlet declares â€Å"I did love you once† after Ophelia has broken up with him. Ophelia replies â€Å" Indeed my lord you made me believe so. † Hamlet then pronounces, â€Å"You should not have believed me. † This demonstrates that Hamlet really did not love Ophelia.He continues on to express his lack of feelings for her, â€Å"I give you this plague of dowry; be thou chaste as ice, as pure as snow, thou shall not escape calumny. † He tells her to go away or he will destroy her good name. Although he might just be spewing words of bitterness because Ophelia has ended their relationship, if he really cared for her he would not want to slander her reputation. His lack concern for her virtuous character supports the argument that he does not truly love Ophelia.In Act III Scene IV Hamlet accidently slays Polonius. After doing so he feels no remorse and announces, â€Å"Thou wretched, rash, intruding fool, farewell. I took thee for thy better. † He believes Polonius got what he deserved. His lack of remorse for killing Ophelia’s father show he is not conc erned with her feelings. Rather than feeling saddened by this unfortunate event, Hamlet takes delight in the fact that he has killed an eavesdropper who should not have been in the room listening to a private conversation.Not only is he pleased with the fact he has killed Polonius, but he also hides the body so there can be no proper burial for Polonius. If he truly loved Ophelia, he would want to express sorrow for her loss and support her through her grief. The death of Ophelia’s father causes her to go mad and she never recovers from the loss. Ultimately, she drowns in the brook, possibly committing suicide. Hamlet never goes to Ophelia to comfort her even though her actions indicate she is loosing her sanity.He leaves for England, at the urging of Claudius, rather than stay in Denmark where he could have monitored the health of Ophelia. If Hamlet truly loved Ophelia, he would have been there for her in her time of need. In the final act Hamlet is at the graveyard when he learns of Ophelia’s death. He is speaking with a gravedigger when Claudius enters with Gertrude, Laertes, a priest, mourners and a coffin. Hamlet hears Laertes voice and realizes he is speaking of Ophelia and it is her funeral. Hamlet enters the scene and jumps into Ophelia’s grave.Laertes proclaims’ â€Å"The devil take thy soul,† and he grapples with Hamlet. It is at this point Hamlet declares his love for Ophelia. â€Å"I loved Ophelia. Forty thousand brothers could not with all their quantity of love make up my sum. What wilt thou do for her? † Hamlet only expresses his love for Ophelia after fighting with Laertes. He is trying to out do Laertes with his show of emotion. Even his mother is not convinced of his true love. She states, â€Å"This is mere madness. † In other words she is saying this too shall pass.Hamlet will get over Ophelia’s death. If he truly loved Ophelia, he would have grieved longer over her death. His display of emotion at the graveyard was only in response to the grief of Laertes and not a true love for Ophelia. If Hamlet had truly loved Ophelia, his actions would have demonstrated his true feelings. Instead he only professed his love for Ophelia when it was convenient for him. He used her for his gains and did not really show compassion for her. Even in her death he did not express genuine love for her.

Emergence of Romanticism

The Industrial Revolution and the Emergence of Romanticism The Industrial Revolution was a period of time during the 18th century originating in Europe that resulted in major socio-economic and cultural changes around the world. These changes in part gave rise to the English Romantic spirit, especially in the United Kingdom. The United Kingdom's economic system of manual labor shifted toward a system of machine manufacturing, resulting in the formation of factories and, therefore, modern cities.It also gave rise to the middle and working classes, aerating more employment opportunities but severely reducing the quality of living for those working, especially those in factories. This wrongful oppression brought on by the manipulation of the impoverished resulted in an intellectual and somewhat political movement known as Romanticism. Romantic artists and authors used their work to communicate the suffering of the people living in the newly industrialized world, and described imagined w orlds of beauty and perfection as a form of escape from the harshness that surrounded them.One such artist was William Wordsmith. In his poem â€Å"l Wandered Lonely as a Cloud† Wordsmith uses nature as a form of escapism from the Industrial Revolution. He describes the beauty of a multitude of daffodils and the happiness it brought him. â€Å"And then my heart with pleasure fills, And dances with the daffodils. † The mere thought of the perfect and serene environment continues to make him happy and makes him forget of the horrible surroundings he lives in.This type of escapism was well-received, allowing a similar feeling to emanate in others who suffered the worst of the Industrial Revolution. The Chimney Sweeper† by William Blake is a two part poem that analyzes the innocence of child laborers during the Industrial Revolution and exposes the manipulation of authoritarian powers. Blake also used escapism to contrast the bleak reality of industrialized Europe to the beautiful world that was promised to those who put up with working in fatal conditions. And the Angel told Tom, if he'd be a good boy, He'd have God for his father & never want Joy. † This excerpt from â€Å"Songs of Innocence† shows the lies that the children were fed in order to keep them obedient ND trusting. Blake more directly accuses the authorities in â€Å"Songs of Experience,† the second part of the poem. â€Å"And because I am happy and dance and sing, They think they have done me no injury, And are gone to praise God and His Priest and King, Who make up a Heaven of our misery. Despite the worker's mask of happiness and content, he is truly miserable, unbeknownst to his peers and family, who praise those who are slowly killing him. The government uses the trusted concept of God to force those under them to work and produce goods for them that will make them richer. This poem raised many questions about the effects and ethical state of child labor and lead to the eventual imposition of child labor laws. Another author, Thomas Hardy, exemplifies the effects of the formation of the working classes on the average person in his poem â€Å"The Ruined Maid. In the poem, a prostitute and her former acquaintance, a lowly farmer, discuss their ruined states, despite the former looking and acting more sophisticated and well-endowed compared to her previous appearance and attitude as a farmer. Mirror hands were like paws then, your face blue and bleak, But now I'm bewitched by your delicate week†¦ † The harlot's friend compares her new appearance to what she used to be, assuming she's become more successful, but she believes that she's been ruined, a belief that she repeatedly expresses throughout the poem.This showcases her distorted perception of reality, believing she has it worse than her hard-working friend, when, in fact, the two live in about the same conditions and are both â€Å"ruined. † In many ways, the em ergence of Romanticism was a reaction to the effects of the Industrial Revolution. The writings and artwork of many 19th century intellectuals ND artists were created as a revolt against the inhumane treatment of low class citizens and the unnatural transformation of the environment.They used escapism and imagery to provide a beautiful environment that was uncommon in the reality of the industrialized world and to expose the unjust effects that this new mechanized way of life had on not only the environment, but the people. These artists used the Romantic Spirit to instill a sense of hope within the oppressed and proved that the thoughts of individuals can inspire and fight against the majority, eventually coming out on top.

The Art of the Steal by Frank Abagnale.

The Art of the Steal by Frank Abagnale. Mr. Abagnale is known as one of the world's most respectful authorities on check fraud, embezzlement and secure documents. He has developed new procedures and created manuals and educations programs utilized by over 14,000 financial institutions, law enforcement agencies and corporations. He is most famous for the recent film success Catch Me if You Can, which was about his life in crime, Mr. Abagnale said he wrote the book more than 23 years ago and it was written from his perspective as a 16 year old. The movie over dramatized and exaggerated some of the story. He is married for over 25 years and now has 3 sons. He considers his past immoral, unethical and illegal. He turned the bad into the good and now has a multi million consulting firm.Leonardo DiCaprio and the real Frank Abagnale.Mr. Abagnale was the subject of the best selling book, "Catch Me If You Can" and the author of "The Art of the Steal". I shall review the second of the two, "The Art of the Stea"l, specifically, check fraud.The book starts out with a story of a young woman who had her identity stolen. Her social security number, address and phone number with her driver license were all used in the purchase of a new truck, several thousands in credit cards charges, and even a warrant for her arrest for marijuana.Mr. Abagnale had passed over $2.5 million dollars in bad checks through out all fifty states and in twenty six countries, all before he was of age to drink. He had the "distinction" of becoming one of the most hunted criminals by the FBI.His was caught by the French police when he was 21 and spent six months in a French prison, where he was extradited to Sweden and served another six months for...

Tesco CSR Essay Example | Topics and Well Written Essays - 500 words

Tesco CSR - Essay Example F during charity â€Å"Change for Good.† The phrase was used for children charity and hence it was private but Tesco used it anyway for its own commercial purposes. This led to a lot of controversy and it ultimately damaged the income stream for the children which did not sit well with a section of the public and damaged a bit the reputation of the company. The issue is meat supply from its suppliers. After research unveiled that some of the beef burgers from Tesco contained 29% horsemeat and others pig meat, the reputation of the company dropped instantly. This was not the fault of Tesco but rather of its suppliers who supplied the meat to the numerous Tesco stores countrywide. Sales of frozen burgers and frozen ready- made food has dropped significantly. The confidence of the customers on the meat and food being sold in the stores has dwindled and the effects being experienced in the sales (Wall, 2013). Tesco has to restore the confidence of its customers once again. This should be preceded by having to seek new suppliers of the meat as well as having to monitor these suppliers to ensure that the meat being provided and the products in general are up to human consumption standards (Butler, 2013). The legal team also has to work extra hard to prevent law suits from customers on the products. Briefly analyse what happened applying theories on organisational ethics theory, corporate governance CSR concepts, stakeholder applications & reputation management concepts/metrics. Not all of them are required, but the more you apply and reference inside the PR crisis/issue the better it is. Demonstrate application of relevant theories. This is an ethical matter and all stakeholders in conjunction with the management must come up with the best strategies to handle the matter and prevent a repeat in future (Philips, 2003, pg. 87). The reputation of the company must be taken care of if CSR is to work in favour of the company and people are to accept it. To ensure quality

Love. How to start an Business in USA Essay Example | Topics and Well Written Essays - 1250 words

Love. How to start an Business in USA - Essay Example This paper will demonstrate how to start a business in Chicago, Illinois and also acts as a basic guideline for an individual who has yet to go through an actual implementation process. This paper is based on the research carried out to reveal the steps which are necessary to be taken when starting a retail pharmacy business in Chicago. The importance of intellectual property (IP) should be recognized thoroughly by a start-up business owner. IP is actually a legal concept and is sadly, poorly misunderstood by many people who wish to start their own businesses and think that this concept can only be appropriately applied by those people who are legal experts. Every enterprise, company or business organization should pay attention to IP. IP can help the owners at every stage of business development â€Å"from product development to product design, from service delivery to marketing, and from raising financial resources to exporting or expanding your business abroad† (World Intellectual Property Organization, n.d.). in order to maximize the benefits, business owners should know how to use the IP system. It is worth mentioning that in case IP being used belongs to others, then rights have to be acquired to use it by obtaining a license so that forthcoming disputes and litigation could be avoided by the novice in dividuals intent on establishing personal businesses. IP is also important to a business because it helps in copyright protection and get fair economic awards on grounds of a business’s individual creativity and product sales. Retail pharmacy is recognized as one of the mainstream profitable businesses in entire USA. But, area requirements should be deeply understood and assessed before implementing and operating any business concept, According to Woodfield (2012), State of Illinois Business Portal suggests that before