generalizations-50

英语作文

make-generalizations。

归纳

So, some sort of ability to record information and make generalizations isabsolutely essential to making it through life. 。

所以记录信息的能力,和归纳的能力是非常重要的,是我们生存的关键。

很高兴第一时间为您解答，祝学习进步。

如有问题请及时追问，谢谢~~O(∩_∩)O。

人类所有知识如何分类？

这个是我从网上找的;

My dream school is very big. It has a swimming pool and a football pitch and a basketball court. You don't have to do much work and you have lots of play time. All the teachers are really nice and do sport and art everyday. In every classroom there is a computer for everyone. The classrooms would be huge and you could sit where you want to. At lunch time you could pick something from the school fridge. Every kind of food imaginable would be in this fridge. 。

这个是我瞎写的，但肯定没错别字，这个你放心：

My home town is very big and beautiful. It has a lot of parks and swimming pool, with beautiful shops everywhere, there is two hospitals, three schools and a lot of shopping mall. We have lots of kids in my home town, we always play together after school or on the weekends and the holidays. I love my home town very much and I wish to stay here forever.。

这个是告诉你怎样协邀请函的：

Names of party hosts or sponsoring organization.。

Type of event (birthday party, business networking meeting, etc.).。

Place.

Date.

Time.

RSVP date and phone number.。

Any special dress requirements from black-tie to bathing suits.。

Rain date (if any).。

Be specific about who is invited, whether addressee only, with guest, or with spouse and children.。

Tips:

Always send written invitations for formal events such as business gatherings, formal dinners, and special occasions like showers, weddings or events honoring someone.。

If guests are not from your local area, include a map to location of event.。

Send anywhere from 8 - 2 weeks in advance depending on formality of occasion. Weddings require the longest lead-time; casual dinners and brunches require 。

这个是关于鸟类的amazing things:。

First, not all young birds are altruistic and share food with their siblings in order to increase the likelihood of passing on their (assumed shared) genes; in reality, some bird species (such as the blue-footed booby) purposely kill their siblings--siblicide--or force them out of the nest in order to monopolize the available resources, namely food from the parent bird, therefore ensuring their own survival and the passing on of their own genes. 。

My other problem is with the statement "[Parrots] can solve certain linguistic processing tasks as deftly as 4-6 year-old children." Now, I completely agree that some parrots are able to do this...the key word here being "some." But not all parrots possess the higher cognitive functioning that this article seems to imply they have. Level of cognitive function is dependent upon the species, and indeed, even upon individuals within the same species. Budgies do not have the same ability to learn the difference between "same" and "different" as say, African Greys. Further, only after years of intense training was Alex, the famous African Grey, able to understand the abstract concept of "none" or "zero."。

Overall, the article was an interesting read, although I think the broad generalizations regarding whole categories of animals are misleading and counter-productive to providing accurate information, and are borderline unacceptable from a website devoted to science. Many people take articles from a science-oriented website as gospel truth, and so I think the author should be more mindful regarding the accuracy of information that is being written.。

第六个我真的帮不了你。

这个是讲狗的，可以么？My pet is a lovely dog.Its name is "dian dian".because there are a lot of black circle on its skin.the "dian dian" is very friendly.Many childen like play with him.His favourite food is meat bones. His favourite toy is a doll. ’dian dian ’ likes to run very much.It can run very fast and it has a girl friend.its name "na na".there are a lot of black circle on its skin,too.I like my pet very much.It is a good pet!!。

科技英语完形填空2

按现代认知心理学的理解，知识有广义与狭义之分，广义的知识可以分为两类，即陈述性知识、程序性知识。

1、陈述性知识：陈述性知识是描述客观事物的特点及关系的知识，也称为描述性知识。陈述性知识主要包括三种不同水平：符号表征、概念、命题。

符号表征是最简单的陈述性知识。所谓符号表征就指代表一定事物的符号。如学生所学习的英语单词的词形、数学中的数字、物理公式中的符号、化学元素的符号等都是符号表征。

概念是对一类事物本质特征的反映，是较为复杂的陈述性知识。

命题是对事物之间关系陈述，是复杂的陈述性知识。命题可以分为两类：一类是非概括性命题，只表示两个以上的特殊事物之间关系。另一类命题表示若干事物之间的关系，这类命题叫概括，如“圆的直径是它的半径的两倍”，这里的倍数关系是普遍的关系。

2、程序性知识：程序性知识是一套关于办事的操作步骤的知识，也称操作性知识。这类知识主要用来解决“做什么”和“如何做”的问题，用来进行操作和实践。

策略性知识是一种较为特殊的程序性知识。它是关于认识活动的方法和技巧的知识。如∶如何有效记忆，如何明确解决问题的思维方向等。

扩展资料

基础知识的重要性：

（1）没有基础，何来进阶，知识体系环环相扣，没有夯实的基础，知识体系只会是漏洞百出，只懂表面，不懂原理，学习任何事物想要学好必须学好基础，懂其原理，万丈高楼拔地而起，还要靠地基打的好。

（2）任何事物基础都很重要（对于不同事物这个基础的表现形式也可能不同），更深奥的知识都是有最基础的知识，理论原理组合而成的，没有基础，就不可能去理解更深奥的知识理论，就不可能往更高的层次进阶，基础学好了扎实了才能再进阶更深奥的课程，再怎么强调基础的重要性都不为过，基础一定要夯实。

参考资料来源：百度百科-知识

谁帮我写一段关于爵士乐的英文介绍

21．选[A]。解答此题需要分析句子间的逻辑关系。第二句中的第一个词"Yet"表明了本句是对第一句内容的转折。第一句讲到20世纪电视的发展和15世纪、16世纪与20世纪之间的年代发生的事。同时，第三句中出现的19世纪也确定了本题的选择为[A]between， 指这两个时间段中间的年代。

22．选[D]。本题考查it is … that…强调句型。下文not until结构，被强调的部分是not until引导的时间状语。

23．选[C]。本题考查词义辨析。所给四个单词都有"方法，手段"的意思，但medium还有"媒体"的意思，正文正好用来指newspaper，因为newspaper是一种"媒体"。Medium的复数形式是media。

24.选[B]。本题需要对比两个短语：in the wake of 和in the company of.前者的意思是"在……之后"，后者的意思是"与……同时"。company在此句中的意思是"陪伴，伴随"。本句表明传单和书出现在报纸之前，而期刊是和报纸同时出现的。

25．选[B]。本题考查词义辨析。Speed up是"加速"的意思。本句讲的是19世纪通讯革命的发展。从句意来看，只能选[B]。

26．选[A]。本题考查副词on表"继续"的用法。本句讲19世纪通讯革命的发展，从交通、铁路开始， 发展到电报、电话、无线电和电影，直到20世纪的汽车和飞机。从这三个阶段可看出本题只能选[A]。

27．选[D]。本题考查介词的意义。由空格后的20th century world及与之相搭配的动词lead来看，〔D〕into是正确选项。

28.选〔D〕。本题考查固定搭配的用法。in perspective是固定短语，意思是"正确地"。本句的意思是：并不是所有的人都正确地认识了这一过程。本段最后一句指出"正确认识这一过程是很重要的"。

29.选〔C〕。本题考查副词的用法。从文章整体内容来看，文章每一段都谈到了不同的内容。第二段涉及电脑，并且在第一句就指出急剧地改变了第一段中提到的通讯革命，由此可以判断出这里应填入表示转折意味的副词，因此只能选〔C〕however。注意本题中的标点给了一定的解题线索，但是选项〔D〕there fore在标点符号的运用上与however是相同的，因此，要做出最后的判断还要依赖于对文章内容的理解。

30.选〔B〕。本题要求区分词义并考查一定的常识。所给四个选项的意思分别是〔A〕brought带来，〔B〕followed跟随其后的是……。常识知识告诉我们最早的电脑是在20世纪初期出现的，而20世纪60年代(即1960)出现了集成电路(integrated circuit)，所以两者出现的时间顺序很明显，电脑在先，集成电路在后，因此，正确选项是〔B〕followed。

31.选〔D〕。本题要求区分连词的意义。所给四个连词的意思分别是：〔A〕unless除非；〔B〕since自从，由于；〔C〕lest以防；〔D〕although 虽然。从文章内容来看，该处连词引导的分句应表示与全句相对立的内容，表明"电脑对媒体的作用没有立刻显现出来"，所以〔D〕although是正确选项。

32.选〔A〕。本题要求区分形容词词义。所给四个选项的意思分别是〔A〕apparent明显的，副面的；〔B〕desirable让人产生欲望的……；〔C〕negative消极的，副面的；〔D〕plausible 合理的。从文章内容来看，只有〔A〕为正确选项。

33.选〔A〕。本题要求区分形容词词义及对文章内容的理解。所给四个选项的意思分别是〔A〕institutional机构性的，团体性的；〔B〕universal普遍的；〔C〕fundamental根本的；〔D〕instrumental工具性的。本题的解题要点是要判断as well as前后的两个形容词的关系。as well as是一个并列连接短语，连接两个对等成份，而能与personal在意思上对等的词只有〔A〕institutional，分别指"个人电脑"和大机构团体用的电脑。

34.选〔C〕。本题要求区分同义词。storage的意思是"存储"，因此后面的词要表示可存储的能力，即"容量，容积"的意思。所给四个选项中只有〔C〕capacity有此意项。

35.选〔B〕。本题要求区分介词短语。〔A〕by means of通过……方式；〔B〕in terms of在……方面，以……说法；〔C〕with regard to关于……；〔D〕in line with与……一致。本句要表达的意思是：就象描述人一样，电脑也用"代"来描述，因此此处要填入的介词短语要表达"用……说法来描绘"的意思，只能填入〔B〕项。

36.选〔D〕。本题要求区分修饰名词的形容词。所给四个选项中只有small才能修饰distance.注意distance这样的词不能用法语中的"远、近"来修饰，而只能用"small， big"来修饰。正如price不能用cheap和expensive来修饰一样。

37.选〔A〕。本题要求区分名词。〔A〕context情况，境况；〔B〕range范围；〔C〕scope范围；〔D〕territory领域，领土。从文章内容来看，空格处要填入的词应是表达与"society"(社会)同义的词，且能够和live within搭配，所以只有〔A〕为正确选项。

38.选〔C〕。本题要求区分动词。〔A〕regard以为……；〔B〕impress给……留下印象；〔C〕influence影响；〔D〕effect使实施。文章要表达的意思是"通讯革命对工作、休闲以及我们思考和感受时空的方式都产生了影响"，所以〔C〕是正确选项。

39.选〔B〕。本题要求区分形容词。所给四个选项的意思分别是〔A〕competitive竞争性的；〔B〕controversial有争议的，可能引起争论的；〔C〕distracting转移注意力的；〔D〕 irrational不理智的。从文章内容来看，只有〔B〕是修饰views(观点)的最佳选项。

40.选〔C〕。本题要求区分介词词义。空格前后的benefits和harmful outcomes(有害结果)是对立关系，四个选项中能够体现这种关系的介词只有〔C〕against.。

一段英文 帮忙翻译一ha啊（翻译，追加50分）

Jazz

I INTRODUCTION 。

Jazz, type of music first developed by African Americans around the first decade of the 20th century that has an identifiable history and distinct stylistic evolution. Jazz grew up alongside the blues and popular music, and all these genres overlap in many ways. However, critics generally agree about whether artists fall squarely in one camp or another.。

II CHARACTERISTICS 。

Since its beginnings jazz has branched out into so many styles that no single description fits all of them accurately. A few generalizations can be made, however, bearing in mind that for all of them, exceptions can be cited.。

Performers of jazz improvise within the conventions of their chosen style. Typically, the improvisation is accompanied by the repeated chord progression of a popular song or an original composition. Instrumentalists emulate black vocal styles, including the use of glissandi (sliding movements that smoothly change the pitch), nuances of pitch (including blue notes, the “bent” notes that are played or sung slightly lower than the major scale), and tonal effects such as growls and wails.。

In striving to develop a personal sound, or tone color (an idiosyncratic sense of rhythm and form and an individual style of execution), performers create rhythms characterized by constant syncopation (the placing of accents in unexpected places, usually on the weaker beat) and by swing. Swing can be defined as a sensation of momentum in which a melody is alternately heard together with, then slightly at variance with, the regular beat. Written scores, if present, are often used merely as guides, providing structure within which improvisation occurs. The typical instrumentation begins with a rhythm section consisting of piano, string bass, drums, and optional guitar, to which may be added any number of wind instruments. In big bands the wind instruments are grouped into three sections: saxophones, trombones, and trumpets.。

Although exceptions occur in some styles, most jazz is based on the principle that an infinite number of melodies can fit the chord progressions of any song. The musician improvises new melodies that fit the chord progression, which is repeated again and again as each soloist is featured, for as many choruses as desired.。

Although pieces with many different formal patterns are used for jazz improvisation, two formal patterns in particular are frequently found in songs used for jazz. One is the AABA form of popular-song choruses, which typically consists of 32 measures in ¹ meter, divided into four 8-measure sections: section A, a repetition of section A, section B (the “bridge” or “release,” often beginning in a new key), and a repetition of section A. The second form, with roots deep in African American folk music, is the 12-bar blues form. Unlike the 32-bar AABA form, blues songs have a fairly standardized chord progression.。

III ORIGINS

Jazz is rooted in the mingled musical traditions of African Americans. These include traits surviving from West African music; black folk music forms developed in the Americas; European popular and light classical music of the 18th and 19th centuries; and later popular music forms influenced by black music or produced by black composers. Among the surviving African traits are vocal styles that include great freedom of vocal color; a tradition of improvisation; call-and-response patterns; and rhythmic complexity, both in the syncopation of individual melodic lines and in the conflicting rhythms played by different members of an ensemble. Black folk music forms include field hollers, rowing chants, lullabies, and later, spirituals and blues (see African American Music).。

European music contributed specific styles and forms: hymns, marches, waltzes, quadrilles, and other dance music, as well as light theatrical music and Italian operatic music. European music also introduced theoretical elements, in particular, harmony, both as a vocabulary of chords and as a concept related to musical form. (Much of the European influence was absorbed through private lessons in European music, even when the black musicians so trained could only find work in seedy entertainment districts and on Mississippi riverboats.)。

Black-influenced elements of popular music that contributed to jazz include the banjo music of the minstrel shows (derived from the banjo music of slaves), the syncopated rhythmic patterns of African-influenced Latin American music (heard in southern U.S. cities), the barrelhouse piano styles of tavern musicians in the Midwest, and the marches played by black brass bands in the late 19th century. Near the end of the 19th century, another influential genre emerged. This was ragtime, a composed music that combined many elements, including syncopated rhythms (from banjo music and other black sources) and the harmonic contrasts and formal patterns of European marches. After 1910 bandleader W. C. Handy took another influential form, the blues, and broke its strict oral tradition by publishing his original blues songs. (Favored by jazz musicians, Handy’s songs found one of their greatest interpreters in the 1920s in blues singer Bessie Smith, who recorded many of them.)。

The merging of these multiple influences into jazz is difficult to reconstruct because it occurred before the existence of recording, which has provided valuable documentation. Of course, individual musicians had varying backgrounds and few people were directly exposed to all of these influences. For example, most jazz artists were and are city dwellers and might have only known rural black forms indirectly.。

IV HISTORY

Most early jazz was played in small dance bands or by solo pianists. Besides ragtime and marches, the repertoire included all kinds of popular dance music and blues. The bands typically played at picnics, weddings, parades, and funerals. Characteristically, the bands played dirges on the way to funerals and lively marches on the way back. Blues and ragtime had arisen independently just a few years before jazz and continued to exist alongside it, influencing the style and forms of jazz and providing important vehicles for jazz improvisation.。

A New Orleans Jazz 。

Shortly after the turn of the 20th century, the earliest fully documented jazz style emerged and centered in New Orleans, Louisiana. In this style the cornet, trumpet, or violin carried the melody, the clarinet played florid countermelodies, and the trombone played rhythmic slides and sounded the root notes of chords or simple harmonies. Below this basic trio the guitar or banjo sounded the chords, along with a piano, if available; a string bass (or tuba for marching parades) provided a bass line; and drums supplied the rhythmic accompaniment. In theory, these roles were the same as in other kinds of music—it was the addition of improvisation, along with elements of other black music such as blues and ragtime, that made jazz unique.。

A musician named Buddy Bolden appears to have led some bands that influenced early jazz musicians, but this music and its sound have been lost to posterity. Although some jazz influences can be heard on a few early phonograph records, not until 1917 did a jazz band record. This band, a group of white New Orleans musicians called The Original Dixieland Jazz Band, created a sensation overseas and in the United States. Among the band’s many successors, two groups emerged in the early 1920s that were particularly celebrated: the New Orleans Rhythm Kings and the Creole Jazz Band, the latter of which was led by cornetist King Oliver, an influential stylist. The series of recordings made by Oliver’s band are often considered the most significant jazz recordings by a New Orleans group. Other leading New Orleans musicians included trumpeters Bunk Johnson and Freddie Keppard, soprano saxophonist and clarinetist Sidney Bechet, drummer Warren “Baby” Dodds, and pianist and composer Jelly Roll Morton. The most influential jazz musician nurtured in New Orleans, however, was King Oliver’s second trumpeter, Louis Armstrong.。

B Armstrong’s Impact 。

Armstrong was a dazzling improviser, technically, emotionally, and intellectually. He and his generation changed the format of jazz by bringing the soloist to the forefront, and within his recording groups, the Hot Five and the Hot Seven, he demonstrated that jazz improvisation could go far beyond simply ornamenting the melody—he created new melodies based on the chords of the initial tune. He also set a standard for later jazz singers, not only by the way he altered the words and melodies of songs, but also by improvising without words, like an instrument. This form of vocal improvisation is known as scat singing.。

C Chicago and New York City 。

For jazz, the 1920s was a decade of great experimentation and discovery. Many New Orleans musicians, including Armstrong, migrated to Chicago, Illinois, influencing local musicians and stimulating the evolution of the Chicago style. This style was derived from the New Orleans style but emphasized soloists, often added saxophone to the instrumentation, and usually produced tenser rhythms and more complicated textures. Instrumentalists working in Chicago or influenced by the Chicago style included trombonist Jack Teagarden, banjoist and guitarist Eddie Condon, drummer Gene Krupa, and clarinetist Benny Goodman. Also active in Chicago was Bix Beiderbecke, whose lyrical approach to the cornet provided an alternative to Armstrong’s bravura trumpet style. Many Chicago musicians eventually settled in New York City, another major center for jazz in the 1920s.。

D Jazz Piano

Another vehicle for the development of jazz in the 1920s was piano music. The Harlem section of New York City became the center of a highly technical, hard-driving solo style known as stride piano. The master of this approach in the early 1920s was James P. Johnson, but it was Johnson’s protégé Fats Waller—a talented vocalist and entertainer as well—who became by far the most popular performer of this idiom.。

A second piano style to develop in the 1920s was boogie-woogie. A form of blues played on the piano, it consists of a short, sharply accented bass pattern played repeatedly by the left hand while the right hand plays freely, using a variety of rhythms. Boogie-woogie became especially popular in the 1930s and 1940s. Leading boogie-woogie pianists included Meade Lux Lewis, Albert Ammons, Pete Johnson, and Pine Top Smith.。

The most brilliant pianist of the 1920s, comparable to Armstrong in sheer innovation and present on some of his most influential recordings, was Earl “Fatha” Hines, a Chicago-nurtured virtuoso considered to possess a wild, unpredictable imagination. His style, combined with the smoother approach of Waller, influenced most pianists of the next generation—notably Teddy Wilson, who was featured with Goodman’s band in the 1930s, and Art Tatum, who performed mostly as a soloist and was regarded with awe for his virtuosity and sophisticated harmonic sense.。

E The Big-Band Era 。

Also during the 1920s, large groups of jazz musicians began to play together, after the model of society dance bands. These were the so-called big bands, which became so popular in the 1930s and early 1940s that the period was known as the swing era. One major development in the emergence of the swing era was a rhythmic change that smoothed the two-beat rhythms of some early bands into a more flowing four beats to the bar. Musicians also developed the use of short melodic patterns, called riffs, in call-and-response patterns. To facilitate this procedure, orchestras were divided into instrumental sections, each with its own riffs, and opportunities were provided for musicians to play solos.。

The development of the big band as a jazz medium was strongly influenced by the achievements of Duke Ellington and Fletcher Henderson. Henderson’s arranger, Don Redman, and later Henderson himself, introduced written jazz scores that were widely admired for their effort to capture the quality of improvisation that characterized the music of smaller ensembles. To achieve this improvisation, Redman and Henderson were aided by gifted soloists such as tenor saxophonist Coleman Hawkins and by Armstrong, who played in Henderson’s band during 1924 and 1925.。

Ellington led a band at the Cotton Club in New York City during the late 1920s. Continuing to direct his orchestra until his death in 1974, he composed colorful experimental concert pieces ranging in length, from the three-minute “Ko-Ko” (1940) to the hourlong Black, Brown, and Beige (1943), as well as songs such as “Solitude” and “Sophisticated Lady.” More complex than Henderson’s music, Ellington’s music made his orchestra a cohesive ensemble, with solos written for the unique qualities of specific instruments and players. Other black bands that were popular among musicians and audiences were led by Jimmie Lunceford, Chick Webb, and Cab Calloway.。

A different style of big-band jazz was developed in Kansas City, Missouri, during the mid-1930s and was epitomized by the band of Count Basie. Originally assembled in Kansas City, Basie’s band reflected that region’s emphasis on improvisation, keeping the prepared passages relatively short and simple. The wind instruments in his band exchanged ensemble riffs in a free, strongly rhythmical interplay, with pauses to accommodate instrumental solos. Basie’s tenor saxophonist Lester Young, in particular, played with a rhythmic freedom rarely apparent in the improvisations of soloists from other bands. Young’s delicate tone and long, flowing melodies, laced with an occasional avant-garde honk or gurgle, opened up a whole new approach, just as Armstrong’s trumpet and cornet playing had done in the 1920s.。

Other trendsetters of the late 1930s were trumpeter Roy Eldridge, electric guitarist Charlie Christian, drummer Kenny Clarke, and vibraphonist Lionel Hampton. Jazz singing in the 1930s became increasingly flexible and stylized. Ivie Anderson, Mildred Bailey, Ella Fitzgerald, and, above all, Billie Holiday were among the leading singers. Europeans also became more active in jazz during this time. Christian, for example, was influenced by Belgian guitarist Django Reinhardt, whose brilliant recordings were available in the United States.。

F Interplay with Popular and Classical Music 。

The pioneering efforts of Armstrong, Ellington, Henderson, and others made jazz a dominant influence on American music during the 1920s and 1930s. Popular musicians such as bandleader Paul Whiteman used some of the more obvious rhythmic and melodic devices of jazz, although with less improvisational freedom and skill than were displayed in the music of the major jazz players. Attempting to fuse jazz with light classical music, Whiteman’s orchestra also premiered jazzy symphonic pieces by American composers such as George Gershwin. Closer to the authentic jazz tradition of improvisation and solo virtuosity was the music played by the bands of Benny Goodman (who used many of Henderson’s arrangements), Gene Krupa, and Harry James.。

Since the days of ragtime, jazz composers had admired classical music. A number of swing-era musicians “jazzed the classics” in works such as “Bach Goes to Town” (written by Alec Wilder and recorded by Goodman) and “Ebony Rhapsody” (recorded by Ellington and others). Composers of concert music, in turn, paid tribute to jazz in works such as Contrasts (1938, commissioned by Goodman) by Hungarian Béla Bartók and Ebony Concerto (1945, commissioned by Woody Herman) by Russian-born Igor Stravinsky. Other composers, such as Aaron Copland, an American, and Darius Milhaud, a Frenchman, acknowledged the spirit of jazz in their works.。

G The 1940s and the Postwar Decades 。

The preeminently influential jazz musician of the 1940s was Charlie Parker, who became the leader of a new style known usually as bebop, but also as rebop or bop. Like Lester Young, Charlie Christian, and other outstanding soloists, Parker had played with big bands. During World War II (1939-1945), however, the wartime economy and changes in audience tastes had driven many big bands out of business. Their decline, combined with the radically new bebop style, amounted to a revolution in the jazz world.。

Bebop was still based on the principle of improvisation over a chord progression, but the tempos were faster, the phrases longer and more complex, and the emotional range expanded to include more unpleasant feelings than before. Jazz musicians became aware of themselves as artists and made little effort to sell their wares by adding vocals, dancing, and comedy as their predecessors had.。

At the center of the ferment stood Parker, who could play anything on the saxophone, in any tempo and in any key. He created beautiful melodies that were related in advanced ways to the underlying chords, and his music possessed endless rhythmic variety. Parker’s frequent collaborators were trumpeter Dizzy Gillespie, known for his formidable speed and range and daring harmonic sense, and pianist Earl “Bud” Powell and drummer Max Roach, both leaders in their own right. Also highly regarded were pianist-composer Thelonious Monk and trumpeter Fats Navarro. Jazz singer Sarah Vaughan was associated early in her career with bebop musicians, particularly Gillespie and Parker.。

The late 1940s brought forth an explosion of experimentation in jazz. Modernized big bands led by Gillespie and Stan Kenton flourished alongside small groups with innovative musicians such as pianist Lennie Tristano. Most of these groups drew ideas from 20th-century pieces by masters such as Bartók and Stravinsky.。

The most influential of the midcentury experiments with classically influenced jazz were the recordings made in 1949 and 1950 by an unusual nonet led by Charlie Parker’s protégé, a young trumpeter named Miles Davis. The written arrangements, by Davis and others, were soft in tone but highly complex. Many groups adopted this “cool” style, especially on the West Coast, and so it became known as West Coast jazz. Refined by players such as tenor saxophonists Zoot Sims and Stan Getz and baritone saxophonist Gerry Mulligan, West Coast jazz flourished throughout the 1950s. Also in the 1950s pianist Dave Brubeck (a student of Milhaud’s), with alto saxophonist Paul Desmond, achieved popularity with his blend of classical music and jazz.。

Most musicians, however, particularly on the East Coast, continued to expand on the hotter, more driving bebop tradition. Major exponents of the hard-bop or East Coast style included trumpeter Clifford Brown, drummer Art Blakey, and tenor saxophonist Sonny Rollins, whose unique approach made him one of the major talents of his generation. Another derivative of the Parker style was soul jazz, played by pianist Horace Silver, alto saxophonist Cannonball Adderley, and his brother, cornetist Nat Adderley.。

H The Late 1950s, 1960s, and 1970s 。

Several new approaches characterized jazz in the third quarter of the century. The years around 1960 ranked with the late 1920s and the late 1940s as one of the most fertile periods in the history of jazz.。

H1 Modal Jazz 。

In 1955 Miles Davis organized a quintet that featured tenor saxophonist John Coltrane, whose complex approach produced a striking contrast to Davis’s rich-toned, unhurried, expressive melodic lines. Coltrane poured out streams of notes with velocity and passion, exploring every melodic idea, no matter how exotic; nevertheless, he played slow ballads with poise and serenity. In his solos he revealed an exceptional sense of form and pacing. In 1959 Coltrane appeared on a landmark Miles Davis album, Kind of Blue. Along with pianist Bill Evans, Davis devised for this album a set of pieces that remain in one key, chord, and mode for as long as 16 me。

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