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题目材料：
This passage is adapted from material published in 2009.
In the mid-1940s, jazz, along with much of the United States, stood at a crossroads. The Second World War transformed the economy, speeded the pace of life, and spurred the demand for civil rights. Segregated black troops who fought to liberate foreign lands from tyranny were determined to liberate themselves from second class citizenship. Many young musicians, black and white, found a bond and a social message in the jazz represented by the incendiary brilliance of a new generation of musicians who had apprenticed in the big bands but developed contrary ideas of their own. Those ideas reflected the changing times in ways that went beyond race. The relief and triumph that attended the allied victory led almost instantly to disillusionment and paranoia, as the fear of nuclear devastation and Communist infiltration and demands for equality generated social discord. Television responded with a homogenized view of American life, emphasizing middle-class satisfactions. Jazz, contrary, no longer served as an optimistic booster. If it now alienated much of the audience that had rallied around swing, it attracted younger fans who admired its irreverence and subtlety fans often characterized as beatniks, hedonists, and intellectuals.
The swing jazz that had risen from its New Orleans origins to become an extroverted popular music, inseparable from mainstream American culture, turned a sharp corner with the sounds known as bebop, or bop. Jazz was suddenly an isolated music, appearing in tiny cramped nightclubs rather than brightly lit dance halls. Its music-small-combo tunes with peculiar names such as "Salt Peanuts" and "Ornithology"-was complex, dense, and difficult to grasp. It traded in a mass audience for a jazz cult that revered musicians known by terse, elliptical names, real or bestowed: Bird(Charlie Parker), Diz (Dizzy Gillespie), Klook (Kenny Clarke), Monk (Thelonious Monk), Bud (Bud Powell), Dex (Dexter Gordon). Like swing, bebop was still a music that prized virtuosity; if anything, its standards were higher. But most people saw it as an outsider's music.
Jazz historians, taking a cue from musicians and fans, initially described bebop as a revolution, emphatically breaking with the past. In 1949, the incalculably influential alto saxophonist Charlie Parker insisted that bebop was a new music, something "entirely separate and apart" from the jazz that had preceded it. This view suggests the existence of powerful cultural forces that pushed musicians out of conventional career paths into an unknown, risk-filled style. Historians today, however, tend to treat bebop as an evolution from swing, placing it firmly in the center of the jazz tradition while acknowledging that its status was altered to that of self-conscious art music.
In the mid-1940s, jazz, along with much of the United States, stood at a crossroads. The Second World War transformed the economy, speeded the pace of life, and spurred the demand for civil rights. Segregated black troops who fought to liberate foreign lands from tyranny were determined to liberate themselves from second class citizenship. Many young musicians, black and white, found a bond and a social message in the jazz represented by the incendiary brilliance of a new generation of musicians who had apprenticed in the big bands but developed contrary ideas of their own. Those ideas reflected the changing times in ways that went beyond race. The relief and triumph that attended the allied victory led almost instantly to disillusionment and paranoia, as the fear of nuclear devastation and Communist infiltration and demands for equality generated social discord. Television responded with a homogenized view of American life, emphasizing middle-class satisfactions. Jazz, contrary, no longer served as an optimistic booster. If it now alienated much of the audience that had rallied around swing, it attracted younger fans who admired its irreverence and subtlety fans often characterized as beatniks, hedonists, and intellectuals.
The swing jazz that had risen from its New Orleans origins to become an extroverted popular music, inseparable from mainstream American culture, turned a sharp corner with the sounds known as bebop, or bop. Jazz was suddenly an isolated music, appearing in tiny cramped nightclubs rather than brightly lit dance halls. Its music-small-combo tunes with peculiar names such as "Salt Peanuts" and "Ornithology"-was complex, dense, and difficult to grasp. It traded in a mass audience for a jazz cult that revered musicians known by terse, elliptical names, real or bestowed: Bird(Charlie Parker), Diz (Dizzy Gillespie), Klook (Kenny Clarke), Monk (Thelonious Monk), Bud (Bud Powell), Dex (Dexter Gordon). Like swing, bebop was still a music that prized virtuosity; if anything, its standards were higher. But most people saw it as an outsider's music.
Jazz historians, taking a cue from musicians and fans, initially described bebop as a revolution, emphatically breaking with the past. In 1949, the incalculably influential alto saxophonist Charlie Parker insisted that bebop was a new music, something "entirely separate and apart" from the jazz that had preceded it. This view suggests the existence of powerful cultural forces that pushed musicians out of conventional career paths into an unknown, risk-filled style. Historians today, however, tend to treat bebop as an evolution from swing, placing it firmly in the center of the jazz tradition while acknowledging that its status was altered to that of self-conscious art music.
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