Analysis Of Coleman Hawkins's Poem

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Others songs of Coleman Hawkins are not necessarily modernist. While “One O’Clock Jump” and “Every Man For Himself” show a detailed portrayal, which is part of bebop, the songs are both more similar to swing than “Body and Soul.” However, the songs have more flow and more beats than swing usually has. Thus, the use of more beats is part of the new technique that Coleman Hawkins used. The use of the new techniques shows how one can see modernism in “One O’Clock Jump.” However, due to the similarities to swing one would not necessary have to see this song of Hawkins as part of bebop and thus part of modernism. Yet due to the difference in “Body and Soul” and the similarities of these differences in “One O’Clock Jump” and “Every Man For Himself”…show more content…
Giddens says about his songs: “modernism informs most of what he plays” (124). This quote shows how according to Giddens modernism is part of Hawking’s way of playing. According to Deveaux, Hawkins was part of the bebop genre. As Deveaux mentions about the records that Hawkins produced: “Each combines a confident and assertive manner with a bracing, complex harmonic language that anticipated many of the innovations later associated with bebop, including the so-called flatted fifths (36)” This shows how in Deveaux’s opinion, Hawkins was certainly performing bebop, as his records were producing the innovations that journalists did associate with bebop. Yet, that Deveaux sees the songs of Coleman Hawkins as part of bebop, does not mean that the artists at the time of producing felt that they were making a new subgenre. As Giddens and Deveaux saw Hawkins as a performer of a changing…show more content…
While bebop was a genre of the late 1930s and early 1940s, the first notion of bebop was in 1928. This first notion of bebop is from the McKinney’s Cotton Pickers “Four or Five Times.” At which time that artists started to differ themselves with new techniques while swing was “the predominant jazz style” (Owens 4). As Owens mentions, artists started to differentiate here for the first time. The new techniques show the differentiation Owens mentions. New techniques are part of being a modernist, thus according to the idea of modernism the song “Four or Five Times” is part of modernism. While these new techniques are part of modernism, the writers themselves did not give it the term of bebop and did not intend to make a new genre. Besides, journalists see this song is as an example of bebop because of the use of the new techniques, which are being used later on in those songs that are part of the bebop genre. This shows how the term bebop is a given name and not a name that the artist themselves sought to have, which shows the difference between artists and

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