Question is based on the following passage.

The following passage describes the transition from the swing era to bebop in the history of jazz music.

(1)  Jazz, from its early roots in slave spirituals and the marching bands of New Orleans, had developed into the predominant American musical style by the 1930s. In this era, jazz musicians played a lush, orchestrated

(5)  style known as swing. Played in large ensembles, also called big bands, swing filled the dance halls and nightclubs. Jazz, once considered risqué, was made more accessible to the masses with the vibrant, swinging sounds of these big bands. Then came

(10) bebop. In the mid-1940s, jazz musicians strayed from the swing style and developed a more improvisational method of playing known as bebop. Jazz was transformed from popular music to an elite art form. The soloists in the big bands improvised from the

(15) melody. The young musicians who ushered in bebop, notably trumpeter Dizzy Gillespie and saxophonist Charlie Parker, expanded on the improvisational elements of the big bands. They played with advanced harmonies, changed chord structures, and made chord

(20) substitutions. These young musicians got their starts with the leading big bands of the day, but during World War II—as older musicians were drafted and dance halls made cutbacks—they started to play together in smaller groups. These pared-down bands

(25) helped foster the bebop style. Rhythm is the distinguishing feature of bebop, and in small groups the drums became more prominent. Setting a driving beat, the drummer interacted with the bass, piano, and the soloists, and together the musicians created fast,

(30) complex melodies. Jazz aficionados flocked to such clubs as Minton’s Playhouse in Harlem to soak in the new style. For the young musicians and their fans this was a thrilling turning point in jazz history. However, for the majority of Americans, who just wanted some (35) swinging music to dance to, the advent of bebop was the end of jazz as mainstream music.