Analysis Of Sonny'S Blues Essay Essay On N Culture In Sanskrit Language

It was in Harlem I learned to appreciate street music.

Improvisational impromptu hip-hop erupted from every corner.

Other literary critics, for example Susanna Lee and Suzy Bernstein-Goldman, have looked at the symbolic use of music and have considered musical structure within the story, but like Albert have also separated each use of musical metaphor (or structural element) into divided camps, and contracted (or confined) interpretations that do not fully examine the role of music in the story.

Lee discusses the jazz harmonies of connection and disconnection in the story, looking at correlations between music, narrative, and social theory.

He composes a story that functions structurally like a jazz tune.

Employing the basic components of compositional structure including: rhythm, melody, and harmony, along with the more complex jazz constructs of polyphony and improvisation, he creates a piece with tension and vocalization.

“Now’s The Time” is composed on a twelve bar blues form chord progression, different from the thirty-two bar song form jazz form chord progression of popular jazz-age players.

He states that the jazz motif within the story “emphasizes the theme of individualism” through its adhering to ideals of improvisation that Sonny embodies as a jazz musician.It helps us to visualize this comparison if we break down the story alongside a work like (which I will return to later).Critics have made much about the use of music in Baldwin’s writing the use of music in “Sonny’s Blues”.The outstanding piece from that recording, “Now’s the Time”, exemplifies the blues-form jazz that influenced Baldwin’s writing and that he employs as the story form for “Sonny’s Blues”The first few charged fast-passing piano chords and soft brush hits of high jazz cymbal in “Now’s the Time”, set a rhythmic (composed) melodic head for the tune.The melody is underlined with repeated bass tones, and it is then electrified by the improvised rising harmonies of saxophone and trumpet. When I was a young girl my father lectured at Columbia, and for a brief time we lived in a small apartment off 145 street in Harlem. In that soundscape, there is music, and if one truly listens, within that music there are stories.In struggling to compose and perform music, I learned to appreciate improvisational hip-hop composition on a structural level – taking note of its origins in the rich history of jazz, the hard jazz of the forties and fifties.This style of jazz, better known as be-bop, was quite influential on artists of the time, and this “new” jazz idiom greatly influenced the arts scene in Harlem, playing a key role in the works not only of musicians, but also painters like Beauford Delaney, and young writers like James Baldwin for whom jazz was an important mode of expression.In 1945, (at about the time that Baldwin was starting out as a writer), one of bebop’s best known recorded sessions was put to vinyl.The session, known as The Savoy recordings, was led by the “messiah of modern jazz” Charlie Parker (better known as Bird), and included the great Miles Davis, Dizzy Gillesspie, and Max Roach.

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