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Music comes in many forms; most countries have a style of their own. (1)_____ the mm of the century when jazz was born, America had no prominent (2)_____ of its own. No one knows exactly when jazz was (3)_____, or by whom. But it began to be (4)_____ in the early 1890s. Jazz is America"s contribution to (5)_____ music. In contrast to classical music, which (6)_____ formal European traditions, jazz is spontaneous and free-form. It bubbles with energy, (7)_____ the moods, interests, and emotions of the people: In the 1920s jazz (8)_____ like America. And (9)_____ it does today. The (10)_____ of this music are as interesting as the music (11)_____. American Negroes, or blacks, as they are called today, were the jazz (12)_____.They were brought to the Southern states (13)_____ slaves. They were sold to plantation owners and forced to work long (14)_____ When a Negro died his friends and relatives (15)_____ a procession to carry the body to the cemetery. In New Orleans, a band, often accompanied the (16)_____ On the way to the cemetery the band played slow, solemn music suited to the occasion. (17)_____ on the way home the mood changed. Spirits lifted. Death had removed one of their (18)_____, but the living were glad to be alive. The band played (19)_____ music, improvising on both the harmony and the melody of the tunes (20)_____ at the funeral. This music made everyone want to dance. It was an early form of jazz.
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The more women and minorities make their way into the ranks of management, the more they seem to want to talk about things formerly judged to be best left unsaid. The newcomers also tend to see office matters with a fresh eye, in the process sometimes coming up with critical analyses of the forces that shape everyone"s experience in the organization. Consider the novel view of "Harvey Coleman of Atlanta on the subject of getting ahead. Coleman is black. He spent 11 years with IBM, half of them working in management development, and now serves as a consultant to the likes of AT&T, Coca-Cola, and Merth. Coleman says that based on what he"s seen at big companies, he weighs the different elements that make for long-term career success as follows: performance counts a mere 10%, image, 30%, and exposure, a full 60%. Coleman concludes that excellent performance is so common these days that while doing your work well may win you pay increases, it won"t secure you the big promotion. He finds that advancement more often depends on how many people know you" and your work, and how high they are. Ridiculous beliefs Not to many people, especially many women and members of minority races who, like Coleman, feel the scales have dropped from their eyes. "Women and blacks in organizations work under false beliefs," says Kaleel Jamison, a New York-based management consultant who helps corporations deal with these issues. "They think that if you work hard, you"ll get ahead—that someone in authority will reach down and give you a promotion," she adds. "Most women and blacks are so frightened that people will think they"ve gotten ahead because of their sex or color that they play down their visibility." Her advice to those folks: learn the ways that white males have traditionally used to find their way into the spotlight. The author is of the opinion that Coleman"s beliefs are______
Music comes in many forms; most countries have a style of their own. (1)_____ the mm of the century when jazz was born, America had no prominent (2)_____ of its own. No one knows exactly when jazz was (3)_____, or by whom. But it began to be (4)_____ in the early 1890s. Jazz is America"s contribution to (5)_____ music. In contrast to classical music, which (6)_____ formal European traditions, jazz is spontaneous and free-form. It bubbles with energy, (7)_____ the moods, interests, and emotions of the people: In the 1920s jazz (8)_____ like America. And (9)_____ it does today. The (10)_____ of this music are as interesting as the music (11)_____. American Negroes, or blacks, as they are called today, were the jazz (12)_____.They were brought to the Southern states (13)_____ slaves. They were sold to plantation owners and forced to work long (14)_____ When a Negro died his friends and relatives (15)_____ a procession to carry the body to the cemetery. In New Orleans, a band, often accompanied the (16)_____ On the way to the cemetery the band played slow, solemn music suited to the occasion. (17)_____ on the way home the mood changed. Spirits lifted. Death had removed one of their (18)_____, but the living were glad to be alive. The band played (19)_____ music, improvising on both the harmony and the melody of the tunes (20)_____ at the funeral. This music made everyone want to dance. It was an early form of jazz.
Music comes in many forms; most countries have a style of their own. (1)_____ the mm of the century when jazz was born, America had no prominent (2)_____ of its own. No one knows exactly when jazz was (3)_____, or by whom. But it began to be (4)_____ in the early 1890s. Jazz is America"s contribution to (5)_____ music. In contrast to classical music, which (6)_____ formal European traditions, jazz is spontaneous and free-form. It bubbles with energy, (7)_____ the moods, interests, and emotions of the people: In the 1920s jazz (8)_____ like America. And (9)_____ it does today. The (10)_____ of this music are as interesting as the music (11)_____. American Negroes, or blacks, as they are called today, were the jazz (12)_____.They were brought to the Southern states (13)_____ slaves. They were sold to plantation owners and forced to work long (14)_____ When a Negro died his friends and relatives (15)_____ a procession to carry the body to the cemetery. In New Orleans, a band, often accompanied the (16)_____ On the way to the cemetery the band played slow, solemn music suited to the occasion. (17)_____ on the way home the mood changed. Spirits lifted. Death had removed one of their (18)_____, but the living were glad to be alive. The band played (19)_____ music, improvising on both the harmony and the melody of the tunes (20)_____ at the funeral. This music made everyone want to dance. It was an early form of jazz.
If an occupation census had been taken in the eleventh century it would probably have revealed that quite 90 percent of the people were county inhabitants who drew their livelihood from farming, herding, fishing or the forest. An air photograph taken at that time would have revealed spotted villages, linked together by unsurfaced roads and separated by expanses of forest or swamp. There were some towns, but few of them housed more than 10,000 persons. A second picture, taken in the mid-fourteenth century, would show that the villages had grown more numerous and also more widespread, for Europeans had pushed their frontier outward by settling new areas. There would be more people on the roads, rivers and seas, carrying food or raw materials to towns which had increased in number, size and importance. But a photograph taken about 1450 would reveal that little further expansion had taken place during the preceding hundred years. Any attempt to describe the countryside during those centuries is prevented by two difficulties. In the first place, we have to examine the greater part of Europe"s 3,750,000 square miles, and not merely the Mediterranean lands. In the second place, the inhabitants of that wide expanse refuse to fit into our standard pattern or to stand still. In 1450, most Europeans probably lived in villages, but some regions were so hilly, lacking in good soil, or heavily timbered that villages could not keep going, and settlement was that of solitary herdsmen or shepherds. Some areas had better access to market than others and were therefore more involved in commercial agriculture than in farming. Large landowners were more likely than small landlords to run their estates and especially their domains more systematically and also to keep those records from which we learn most of what we know about the subject. Some areas had never been quite feudalized; their farmers were more free from lordship and even from landlordship. Some regions had been recently settled, and their tenants had been offered liberal terms of tenure in order to lure them into the wilderness. Finally, there was a time element; the expansion and prosperity that characterized the period from the twelfth to the fifteenth century produced or maintained conditions which were unsuitable to the stormier days preceding or the lean ones following it. The tenant of the large estates is to______
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