Bebop (bop) jazz developed by Charlie Parker, Dizzy Gillespie and Thelonious Monk is easier to recognise than define. Best to dwell on what bop isn't. I like "it strove to counter the popularisation of swing (eg, Benny Goodman, Glen Miller) with non-danceable music that demanded listening." - a crusade launched to stamp out depraved dancing then.
The technical definitions are confusing. Certainly fast tempi and instrumental virtuosity are essential bop elements but being "based on the combination of harmonic structure and melody" doesn’t distinguish bop from other jazz. I agree with this Wikipedia pearl: "(it had) an air of exclusivity, the 'regular' musicians would often reharmonise the standards in order to exclude those whom they considered outsiders or simply weaker players." Of all music bop is easily the most elitist.
Most find it hard to sing along to bop solos, let alone whistle them. Either they're resolutely minor key or possibly atonal, which I take to mean unattached to any formal key signature. So how are we supposed to appreciate them?
Well, it's always fun to watch and/or listen to any activity based on the My-Next-Trick-Is-Impossible text. Here's Dizzy with SALT PEANUTS - note his second solo starting about 4 min 20. Professionals only need apply. Funny, I like this but hate deliberately difficult posh stuff like Tartini’s Devil’s Trill.
Bop is no doubt serious music despite the verve with which it’s played. I don’t think we’re meant to listen to twenty bop tracks one after the other. Not me, anyway. Also I reckon we’re asked to applaud the sheer technical skill as something separate from the music – a tribute to human endeavour if you like. Oh yes, here’s a plus – bop is never sentimental.