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29,30 考古
RC-5:jazz与bebop的区别
【版本1】阅读就记得一篇关于bebop
有讲到和传统jazz的一些区别
好像有说bebop不太容易跟着dance
【版本2】讲bebop的 通篇将bebop跟jazz的区别
第一段将两种character的区别
第二段讲两者的艺术家的素质差异
【版本3】是BEBPO与JAZZ的区别，前两天机经有讲过。第一段讲了几个B和JAZZ不同的FACTORS（有题），第二段将这些FACTORS 使得B musician改变了
【版本4】Jazz和Bepop的那篇大概是这样的:
第一段：Jazz传统的特点是通过弦上的一些音符来组合的 (本人音乐白痴，见谅见谅), 其中有某某两个人为代表。
后来的Bepop因为三点原因(很抽象的单词) 而不同于传统的Jazz.
第二段：正因为这些原因，而导致了Bepop是一种精英(Elitism)的音乐。Bepop的音乐家在很长的一段时间内认为主流的音乐仅仅是娱乐大众。
后面就是总结和提出作者一些观点，单词没读懂，但没有题目考到.
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相关文章， 背景知识
The 1939 recording of "Body and Soul" by Coleman Hawkins is an important antecedent of bebop.. Hawkins' willingness to stray — even briefly — from the ordinary resolution of musical themes and his playful jumps to double-time signaled a departure from existing jazz. The recording was popular; but more importantly, from a historical perspective, Hawkins became an inspiration to a younger generation of jazz musicians, most notably Charlie Parker, in Kansas City.
In the 1940s, the younger generation of jazz musicians forged a new style out of the swing music of the 1930s. Mavericks like Dizzy Gillespie, Charlie Parker, Bud Powell and Thelonious Monk were influenced by the preceding generation's adventurous soloists, such as pianists Art Tatum and Earl Hines, tenor saxophonists Coleman Hawkins and Lester Young and trumpeter Roy Eldridge. Gillespie and Parker, both out of the Earl Hines Band in Chicago had traveled with some of the pre-bop masters, including Jack Teagarden, Earl Hines and Jay McShann. These forerunners of bebop. began exploring advanced harmonies, complex syncopation, altered chords, and chord substitutions and the bop generation advanced these techniques with a more freewheeling and often arcane approach.
Minton's Playhouse in New York served as a workout room and experimental theater for early bebop. players, including Charlie Christian, who had already hinted at the bop style in innovative solos with Benny Goodman's band.
Christian's major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats, and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. Swing improvisation was commonly constructed in two or four bar phrases that corresponded to the harmonic cadences of the underlying song form. Bop improvisers would often deploy phrases over an odd number of bars, and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. Swing improvisers commonly emphasized the first and third beats of a measure. But in a bebop. composition such as Dizzy Gillespie's "Salt Peanuts", the rhythmic emphasis switches to the second and fourth beats of the measure. Such new rhythmic phrasing techniques give the typical bop solo a feeling of floating free over the underlying song form, rather than being tied into the song form.
Swing drummers had kept up a steady four-to-the-bar pulse on the bass drum. Bop drummers, led by Kenny Clarke, moved the drumset's time-keeping function to the ride or hi-hat cymbal, reserving the bass drum for accents. Bass drum accents were colloquially termed "dropping bombs." Notable bop drummers such as Max Roach, Philly Joe Jones, Roy Haynes, and Kenny Clarke began to support and respond to soloists, almost like a shifting call and response.
This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to the bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble.
By 1950, a second wave of bebop. musicians — such as Clifford Brown, Sonny Stitt, and Fats Navarro — began to smooth out the rhythmic eccentricities of early bebop.. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes, and simply accented certain notes in the line to create rhythmic variety.
[edit]
Musical style
Bebop. differed drastically from the straightforward compositions of the swing era, and was instead characterized by fast tempos, asymmetrical phrasing, intricate melodies, and rhythm sections that expanded on their role as tempo-keepers. The music itself seemed jarringly different to the ears of the public, who were used to the bouncy, organized, danceable tunes of Benny Goodman and Glenn Miller during the swing era. Instead, bebop. appeared to sound racing, nervous, and often fragmented. But to jazz musicians and jazz music lovers, bebop. was an exciting and beautiful revolution in the art of jazz.
While swing music tended to feature orchestrated big band arrangements, bebop. music was much more free in its structure. Typically, a theme (a "head," often the main melody of a pop or jazz standard of the swing era) would be presented together at the beginning and the end of each piece, with improvisational solos based on the chords of the tune. Thus, the majority of a song in bebop. style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("allusions," or "riffs"). Sometimes they were entirely original, spontaneous melodies from start to finish.
Chord progressions for bebop. tunes were often taken directly from popular swing-era songs and reused with a new and more complex melody, forming new compositions. This practice was already well-established in earlier jazz, but it came to be central to the bebop. style.
Bebop. musicians also employed several harmonic devices not typical of the jazz music that had come before. Complicated harmonic substitutions for more basic chords became commonplace. These substitutions often emphasized certain dissonant intervals such as the flat ninth, sharp ninth and the sharp eleventh (or tri-tone).
[edit]
Instrumentation
The classic bebop. combo consisted of saxophone, trumpet, bass, drums, and piano. This was a format used (and popularized) by both Charlie Parker (alto sax) and Dizzy Gillespie (trumpet) in their 1940s groups and recordings, sometimes augmented by an extra saxophonist or guitar (electric or acoustic), occasionally adding other horns (often a trombone), or other strings (usually fiddle or violin) or dropping an instrument and leaving only a quartet.
Although only one part of a rich jazz tradition, bebop. music continues to be played regularly throughout the world. Trends in improvisation since its era have changed from its harmonically-tethered style, but the capacity to improvise over a complex sequence of altered chords is a fundamental part of any jazz education.
[edit]
Etymology
The word "bebop." is usually stated to be nonsense syllables (vocables) which were generated in scat singing, and is supposed to have been first attested in 1928.[1] One speculation is that it was a term used by Charlie Christian, because it sounded like something he hummed along with his playing.[2] However, possibly the most plausible theory is that it derives from the cry of "Arriba ! Arriba !" used by Latin American bandleaders of the period to encourage their bands.[3] This squares with the fact that, originally, the terms "bebop." and "rebop" were used interchangeably. By 1945, the use of "bebop."/"rebop" as nonsense syllables was widespread in R&B music, for instance Lionel Hampton's "Hey Ba-Ba-Re-Bop", and a few years later in rock and roll, for instance Gene Vincent's "Be-Bop-A-Lula" (1956).
Alternatively, but following the logic of Gammond, the term could be derived from the shout of "Hey, vaya arriba", used by audiences to exhort a band to "Take it up". When pronounced in Caribbean Spanish, the "V" of vaya - to some ears - has a "B" sound and the terminal "A" of vaya continues into the initial "A" of arriba. The resulting sound, to an American ear, would be quite similar to the phrase "Hey, Ba-Ba Re-Bop". Also, a five note phrase, played variably melodically but always rhythmically invoking the phrase "Hey, Ba-Ba Re-Bop", is the most repeated phrase in all jazz improvisation from the 40's through the late 60s, thus implying that the term might, indeed, have phraseological origins in music and not in language.[original research?]
[edit]
Bebop.'s influence
By the mid-1950s musicians (Miles Davis and John Coltrane among others) began to explore directions beyond the standard bebop. vocabulary. Simultaneously, other players expanded on the bold steps of bebop.: "cool jazz" or "West Coast jazz", modal jazz, as well as free jazz and avant-garde forms of development from the likes of George Russell.
Bebop. style also influenced the Beat Generation whose spoken-word style drew on jazz rhythms, and whose poets often employed jazz musicians to accompany them. The bebop. influence also shows in rock and roll, which contains solos employing a form similar to bop solos, and "hippies" of the 60s and 70s, who, like the boppers had a unique, non-conformist style of dress, a vocabulary incoherent to outsiders, and a communion through music. Fans of bebop. were not restricted to the USA; the music gained cult status in France and Japan.
More recently, Hip-hop artists (A Tribe Called Quest, Guru) have cited bebop. as an influence on their rapping and rhythmic style. Bassist Ron Carter even collaborated with A Tribe Called Quest on 1991's The Low End Theory, and vibraphonist Roy Ayers and trumpeter Donald Byrd were featured on Jazzmatazz, by Guru, in the same year. Bebop. samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout the hip-hop compendium.
RC-37:企业的market share和收益
版本1】VABAL部分我的第一篇阅读 讲公司市场占有率与利润的关系的
第一段：市场占有率高的公司利润高，好像说是普通公司的三倍，
第二段：反对第一段的提法，说在服务行业，小公司的利润率高，好像还说了中型企业利润率最低。后来有说进过研究当公司市场占有率达到65%到70%时，他的利润率会比小公司低.
题目1 作者反对的观点 占有率大于70的企业利润率高
题目2 主旨题 我选的 反对过于简单得看待一个问题
旧JJ考古：
【版本1】开头先说市场占有率越大则收益越大,举了一个调查作为例子
然后对前面的观点进行反驳,说是在一些行业(具体不记得,好像有个service吧..)市场占有率越大收益反而小, 后面的论述想不起来了- -
【版本2】1/阅读 1)讲市场占有率和企业盈利能力的关系.这篇文章与以前JJ上面那篇批判资本回报率的文章不一样.
主要是讲传统观点认 为市场占有率越高,一个企业的资本回报率越高.也就意味着这个企业的盈利能力越强.商业领域的很多研究都证明这个观点.但是最近研究发现,在一些特定的领 域,这样的关系并不存在.很多小型企业虽然市场分额不大,但是盈利能力和大企业差不多.并且很多中型企业并不愿扩大市场占有率.尤其是在服务行业,这个特 点尤其明显.例如当一个服务企业的市场占有超过70%左右时,甚至利润率开始下降了.
【版本3】第一段,公司的market share与公司的盈利能力有很大关系。研究表明，一些市场份额占40%~50%的公司资金的投资回报率是那些只占10%以下的小公司要大三倍。(出现一个缩写ROI，市场占有率越高的企业，利润越高)
第二段, 但是other researchers(考点，有两题跟它有关)所作的研究却表明了三个事情：
第1,在某些行业，比如说raw material(考点)啦，service啦，还有一个什么东东，其实小公司能更加focus和cut cost(考点)来保证自己at least as profitable as那些market share大的公司;
第2，在service行业。。。。
第3，对那些market share很大的公司的研究结果证明，其实share超过了60%~70%以后，公司的ROI是会下降滴。
问题1。文章主题
指出了一个analysis的oversimplification(过度单纯化)
问题2。Other researcher的观点是啥 (忘记选啥鸟~)
问题3。Other researcher认为raw material行业的特点是啥
选often cut cost的小公司能at least maintain as profitable as 那些share很大的公司。
问题4。如果一家公司的market share超过70%那会怎么样
(less likely to sustain the competitive status)
一般认为市佔率影响公司获利 市佔率大的ROI高 profit高 (考题-一般人认为怎样 很简单 ) 但是研究显示很多行业(服务业等等)不一定是这样
第二段说服务业市佔率65~70%有一种water xxx 就是说超过这个数字的获利反而下降 (考题 如果有一个70%的公司会怎样)
【版本4】讲公司的social responsibility和financial prospects的。说越来越多公司注重social responsible activities，因为越来越多的个人愿意往这些公司投资，然后举了共同基金投资额增长的例子来说明。由于这些投资的增长，这些公司开始研究如何才能 满足社会需求，比如员工的啥啥，但是这些研究又充满了问题，举了三点，有个题就定位在这里。由于这些问题，这些公司就不继续研究把这些 activities纳入investment的process。
【版本5】文章很不长，明明挺简单一事儿，句子搅来搅去的。题目也很贱，狂多陷阱啊，要小心！
衡量公司performance的指标，总说ROI（投资收益率）比较好，就是说现在美国很多公司还是用ROI来衡量公司的表现，只图短期利益的。现在的企业比较重视报酬率, 美国很多企业用投资回报率来衡量投资的收益，并决定是否要投资.但是这个标准忽略了在研发等起初高投入收益低，只有长期投入才会有很好收益的项目，那么导致过于重视在短期的表现 ，而不重视研发、长期投资及人才培养 。因此，使得社会没有进步的动力，并且很多采取ROI的公司利润都下降，因为ROI的标准是能捞一笔捞一笔，追求短期利益，于是发现这个指标太短视，因此失去market share
但作者认为在高度商业化社会，建议公司更关注最大化股价。要用提出另个策略以股价的长期走势为目的才行，公司不应该光追求短期利益，市场份额market share更重要。在现在这样的经济环境下，更有优势。作者观点很明确，赞成后者。作者认为企业要重视的应是市占率，市占率的变动可以真实反映市场需求了解顾客想法，利于企业作长期规划 。不重视市占率，即使有优势，也会渐渐被对手超过。因此，现在提倡用另外一个measure来衡量，新的方法更重视企业的健康发展，而不会使得企业因为只是追求短期的投入而失去的更广阔的发展空间。
问题1、有问主题的题。
我选了分析两个strategy优缺点那个项，好像是C
问题2、另一题问 用 ROI 来衡量企业performance 的话, 有什么缺点.
其中有一答案: 用 ROI 的企业不会投钱去研发 (research and development) ---我选了这个答案.
【版本6】始转向ROI 和 market share并重的方向，然后解释ROI是什么，它偏重于短期的企业盈利，而market share反映的是长期的。 后面就是重点分析了 衡量企业perform这两个方面 是怎么看的。
【版本7】说什么投资回归的，return on invest ROI? 短期受益，失去市场，后面说相比较而言市场占有率才能说明企业行不行，（有个问题问文章结构）
【版本8】一般认为市占率影响公司获利 市占率大的ROI高 profit高 (考题-一般人认为怎样 很简单 )但是研究显示很多行业(服务业等等)不一定是这样 第二段说服务业市占率65~70%有一种water xxx 就是说超过这个数字的获利反而下降(考题 如果有一个70%的公司会怎样)
【版本9】/阅读1)讲市场占有率和企业盈利能力的关系.这篇文章与以前JJ上面那篇批判资本回报率的文章不一样.
主要是讲传统观点认为市场占有率越高,一个企业的资本回报率越高.也就意味着这个企业的盈利能力越强.商业领域的很多研究都证明这个观点.但是最近研究发现,在一些特定的领域,这样的关系并不存在.很多小型企业虽然市场分额不大,但是盈利能力和大企业差不多.并且很多中型企业并不愿扩大市场占有率.尤其是在服务行业,这个特点尤其明显.例如当一个服务企业的市场占有超过70%左右时,甚至利润率开始下降了. 题目不难,文章短,仔细读. |
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发表于 2012-4-19 19:33:11
aragraph 1: 海豚怎样辨别自己的声音让专家觉得很有意思之类。。。因为在海里有很多很多的杂音。还举了一个浅水地方的例子，说海底里有很多小虾子发出的 clicksParagraph 2: 海豚发出的click trains and whistles seem designed to distinguish their own sounds from the others'. 而且whistles 有很规律性的变法 (unvarying pattern)。实验里面证明了海豚会等到接受了第一个clicks 的echo之后才发出第二个click trains