ged by what sounds like a machine. Then, the piece immediately reverted to choppy mechanical moments of how it initially begun, which gave the delusion that the rigorous storm was reaching an end. After the thrash section, the first verse was repeated, which gave the melody a soft and relaxing sound. This particular piece is very cohesive, even though at times it sounds very jarring. In fact, this piece symbolized the diverse significances of new age music.The last and final artist and musical piece to be analyzed is, Billy Holliday’s song, Strange Fruit. By 1933, Holiday had produced the first of two fabulous records. Despite the success that Holiday received, she was often disturbed by social influences. Holiday’s somewhat radical attitude left her rebelling against white Americans, and left her hanging around prostitutes on urban street corners. The flamboyant Holiday not only played a significant role in developing the distinctive sound of jazz, but starred in classical movies, too. The distinction between jazz and blues is often misunderstood, which was made noticeable in many of Holiday’s works. Holiday was often coupled with great jazz musicians like Lester Young, and Buck Clayton, when she was on stage. Her type of singing of the jazz “had evolved structurally in such a way as to demand the complementing role of an answering voice (or instrument) at the end of each sung line. This manifestation of call-and-response is, in fact, a distinguishing feature of genuine blues, but can be clearly identified with early jazz” (202). “While the blues as a harmonic and formal design can be heard in all ages of jazz, the blues references, as we advance through the so-called modern period, become increasingly attenuated” (203).Interestingly, Billie Holiday never learned how to read or compose her own music. In fact, Holiday never knew what key or pitch to sing in. Yet, she is nicked name...
