Bop Music in the 1950s

Bop Beat Bebop revolution matched the birth of Beat Generation. In a slightly imbalanced relationship, beat writers often form their poetry and style after playing this jazz music. "Jazz writers" such as Jack Kerouac and Alan Ginsberg claim poetry on jazz musicians' skills such as rhythm, improvisation, telephone, reply. The importance of the shape is equal to the importance of the subject, so the creative writing structure has undergone a change. Swing, the predecessor of pop, big and sweet, hot.

Hard bop is an extension of bebop (or "bop") music, which combines the effects of rhythm and blues, gospel music and blues music, especially in saxophone and piano performance. Hard baps were developed in the mid 1950's, merged in 1953 and 1954, and its development partially corresponded to the popularity of cool jazz in the early 1950's accompanied by rise of rhythm and blues. Miles Davis played the world of jazz at the first Newport Jazz Festival in 1954. Quintet artists Black and Jazz messengers played by Blakey, pianist Horace Silver and trumpeter Clifford Brown joined Davis with intense movement.

Originally derived from the fast-moving bebop jazz of the 1940's and derived from the intense soul of the 1950's, avant-garde jazz was a reflection of the anti-cultural trend of the 1960's when music was thought to be for civil rights and opposition It appeared. First emotions of Vietnamese generation - violence, sorrow, and passion. Turning confusion and lyrics, free jazz resists simple metaphor. Most of the traditional music corners of melodic, rhythmic and harmonic progress have been abandoned and replaced by the fundamental method of "freedom" of "restraining Western music rules". However it is equally clear that Free Jazz Theory still feels deeply the extra experimental music of Europeans such as Igor Stravinsky, Bella Bartok, Eriksati.

Free Jazz is a method of jazz music originally developed in the 1950s and 1960s. The music produced by free jazz composers varies widely, but the common function is dissatisfaction with the limits of bebop, hard bop and modal jazz developed in the 1940s and 1950s. In their own way, everyone attempts to change, expand or break the jazz convention so far by abandoning jazz-invariant features, such as fixed code changes or rhythms. It is generally considered experimental and avant-garde, but free jazz is considered to be an attempt to regard jazz as its "primitive", usually the root of religion, and collective improvisation I emphasize. Free Jazz is closely related to the innovations of Ornette Coleman and Cecil Taylor in the 1950's and the work of later saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dollfie, Albert Ayler, Archie Shepp, Jomaneli and Sanla