conception of musical time also changed hand in hand with this new way of phrasing; otherwise this less syncopated approach might have sounded rhythmically lifeless, a tepid jazz equivalent to the even sixteenth notes of baroque music. The 2/4 rhythmic feeling of New Orleans and Chicago was now completely replaced by the streamlined 4/4 sound favored by the Kansas City bands. But even more important, phrases often began and ended on the weak beats (two and four) or, increasingly, between beats, with unexpected points of emphasis adding to the querulous, incisive tone of the music. These
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