“Going to the Conservatory”

Vic Hobson
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Abstract

This chapter looks at Armstrong’s development as a musician in his time with Fate Marable and his orchestra on the Streckfus riverboats. Joe Howard, Norman Mason, and Davy Jones, all good readers and veterans of the minstrel shows, helped Armstrong with his studies. This chapter explores the changing dance tempos as jazz and the Fox-Trot replaced ragtime and the One-Step. The chapter also looks at how barbershop principles were influencing white musicians and being written into sheet music arrangements in relation to “Avalon” (1920).
“去音乐学院”
这一章着眼于阿姆斯特朗与Fate Marable和他的乐队在斯特莱克弗斯河上的船上作为音乐家的发展。乔·霍华德、诺曼·梅森和戴维·琼斯都是很好的读者,也是吟游诗人表演的老手,他们帮助阿姆斯特朗学习。这一章探讨了爵士乐和狐步舞取代拉格泰姆和一步舞后舞蹈节奏的变化。本章还研究了理发店的原则是如何影响白人音乐家的,并被写进与“阿瓦隆”(1920)有关的乐谱安排中。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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