Question

After reading Garage Bands: No Experience Necessary (pg. 205), do you notice any trend that is foreshadowed in American/British music to come (musical styles, attitude, ect.)? Explain your answer

Answer 1

GarageBand is an extraordinary name. It brings to mind all the incredible groups that started as novice acts that practiced in some child's carport. The name proposes the custom made, free nature of the music you'll be making. It even conveys suggestions of the us-versus-them, little-fellow against-The-Man, counterculture soul that Apple has consistently grasped.

The consolidation of jazz concordance, courses of action, and act of spontaneity into types and sounds not generally connected with jazz music.

This would mean shake music from a bebop and free jazz perspective and hard bop from a bebop, customary, swing, and huge band viewpoint.

The soonest type of jazz combination in the strictest feeling of intertwining jazz with a kind outside of the class is Afro-Cuban and Latin jazz as they veered off from the 2/4 and 4/4 rhythms found in swing and huge band individually to join the complex polyrhythms, instrumentation, and structure of Latin and Cuban music.

After the accomplishment of "Manteca", the endeavors of two Cuban musicians, Mario Bauzá and Machito after settling themselves in the New York jazz scene, and the joint effort of a specific Cuban musician by the name of Chano Pozo with Dizzy Gillespie, Afro-Cuban jazz solidified as a class of jazz.

Forthcoming Zappa's mixed preference for 50's musicality and blues, mid twentieth century old style arrangers, blues, doo-wop, and jazz alongside his heterogeneous foundation as an Italian American with Greek, Arab, and French establishes in Los Angeles, and his doubt for the standard gave him a one of a kind level of innovative clout.

Hard work needed to take the hints of swing and enormous band with the hints of shake and popular music up in New York City.

They would be joined by Steely Dan whose desire for Beat verse and culture, and an adoration for R'n'B, jazz, and soul with an inclination for studio generation would make one of the most scholarly and educated musical gangs in maybe the historical backdrop of rock'n'roll.

Carlos Santana's Mexican foundation and taste in hard bop, blues, Gypsy jazz, shake, and Latin gave him his own wellspring of motivation. The entirety of this set the pace for what might turn into another musical insurgency in the realms of jazz, shake and popular music.