Jazz is a unique art of the 20th century. The Influence of Jazz Style Elements on the Formation of Students' Musical Taste

To acquaint students with the musical style - "jazz" and the history of the emergence of this musical direction. Expand your understanding of the characteristic features of the style. Listen to famous jazz performers and highlight the means of musical expression characteristic of jazz: syncopated rhythm, the predominance of wind and percussion musical instruments. Explain the meaning of the concepts of "symphojazz" and consolidate the concepts of "blues", "ragtime", "spiritual".

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Lesson topic: "Jazz as a phenomenon of musical culture of the 20th century."

Targets and goals:

1) to introduce students to the musical style - “jazz”; the history of the emergence of this musical direction; with characteristic style features; co famous performers jazz music; highlight the means of musical expression characteristic of jazz: syncopated rhythm, the predominance of wind and percussion musical instruments.

2) to form students' ideas about jazz culture;

3) to teach a culture of listening;

4) learn to express their own thoughts regarding the musical form, sound and figurative content of musical works;

5) explain the meaning of the concepts of "sympho-jazz" and consolidate the concepts of "jazz", "blues", "ragtime", "spirituals";

6) to form vocal and choral skills and be able to highlight the main thing in the content and sound of a musical work;

5) to cultivate the aesthetic taste of students;

Methods and forms of work:

Collectively - group, individual, problem - search + dialogue.

Equipment: tape recorder, piano, jazz discs, computer, multimedia installation, handouts (pictures with musical jazz instruments).

Lesson type: combined, developing (formation of new knowledge).

During the classes:

1.Org. moment

Epigraph:

Jazz is the enjoyment of freedom of expression.

D. Ellington.

Jazz is music. She uses the same notes that Bach used.

J. Gershwin.

If you don't stamp your feet while listening to music, you will never understand what jazz is.

Louis Armstrong.

Motivation

2. Preparing students for work at the main stage (slide No. 1)

Teacher -

Let's guys think about music together now.

Life moves, goes on as usual, and music does not stand still - it develops with time. Undoubtedly, music is an important part of the life of any person. One of the first questions people ask when they meet is: “What kind of music do you listen to?” Indeed, the most typical division for our and your generation is the division according to musical tastes. What role does music play in your life?

(Student answers)

Music accompanies a person throughout his life.

Nowadays, music, even the best, has become more accessible than tap water. But just as you wouldn't drink any water, you shouldn't plunge thoughtlessly into the world of music. I want to help you not to drown in this variety of modern styles and trends, but to understand them better so that everyone can make a choice for themselves.

(Listening and identifying contemporary styles in music)

3. Main stage (slide number 2)

Teacher: I didn't come to class alone today. With me is a mysterious gentleman whose name we do not know. Who is he, where did he come from? What is his character? For us, this is still a mystery. But I propose to determine his name.

The first letter is the leader of the orchestra (conductor) D

The second letter is a concept denoting a type of musical work according to various features(genre) AND

The third letter is the solo number of the opera (aria) BUT

The fourth letter is a singer - a soloist performing a chorus W

(sang)

I want to conduct our lesson in the form of a transmission " Musical kaleidoscope". To better imagine the image of Jazz, let's try to trace the history of his life.

So we start... slide number 3)

“If you don’t stamp your foot while listening to this music, you will never understand what jazz is,” said Louis Armstrong, one of the most popular musicians of the last century (example of the X-factor show: Yakov Golovko)

Listening to Louis Armstrong's "Go Down Mouses"

Jazz was born in the southern United States at the beginning of the 20th century and spread around the world with amazing speed. The birthplace of jazz is the city of New Orleans, where the great Mississippi River flows into the ocean. slide number 4)

Here, as throughout the South of America, there lived many Negroes, former slaves from the plantations.

Question: Do you think it was difficult for Negroes to live at that time? (Beecher Stone "Uncle Tom's Cabin")

- (slide number 5)

Jazz arose in the United States among the oppressed, disenfranchised Negro population, among the descendants of black slaves who were once forcibly taken away from their homeland. The slaves found solace in music, the Negroes are surprisingly musical. Their sense of rhythm is especially subtle and sophisticated. In their rare hours of rest, they sang, accompanying themselves with clapping their hands, hitting empty boxes, tins - everything that was at hand. Years passed. Memories of the music of the country of ancestors were erased in memory, what sounded around was perceived by ear - the music of the whites. And they sang, mostly, Christian religious hymns. And the blacks began to sing them too. But to sing in your own way, putting all your pain into them, hope for a better life. This is how Negro spiritual songs originated spirituals.

small orchestras jazz - bands drove around in trucks and carts, and staged real musical battles. The assembled crowd judged.

Question: Do you know what fate awaited the defeated orchestra?

With noisy fun, the crowd tied one truck or cart to another - the losers dragged the winners. This is the kind of street education our jazz received in childhood.

(slide number 6)

The word "jazz", originally "jazz-band", came into use in the middle of the 1st decade of the 20th century. in the southern states to refer to music produced by small New Orleans ensembles (consisting of trumpet, clarinet, trombone, banjo, tuba or double bass, percussion and piano(Pay attention to the tools)

The tomboy from the street grew up, and at the age of 15 he went from his native city (what?) to see people and show himself. And besides, the time has come to think about earning.(slide number 7) Most of the work was in two American cities - Chicago and New York. The work came to his taste - to entertain the public with music and dance in clubs and entertainment venues.

Thus passed the early youth of our Jazz...

A few years later, Jazz already had worldwide fame. Jazz toured America and Europe. And everywhere he managed to make true friends. Talented people in different countries did not just imitate Jazz, but did it in their own way.

When Jazz became quite famous, everyone around began to ask where he inherited his talents from. And we were convinced - from the serious Spiritual, the sad Blues, the cheerful Ragtime.

Getting from Africa to America as slaves, the Negroes brought their customs there. Music is one of them.

Music for Africans is primarily social in nature, has a ritual meaning, serves as an expression of feelings.

Many elements inherent in Negro musical culture are reflected in the music.

1) Spirituals (finger snaps)

2) Blues

3) Ragtime

Work in terminological dictionaries(slide number 8)

Spiritual - influenced the development of the jazz style, songs of American blacks with religious content. (listening to music spirituals)

Blues - folk song of American blacks with a sad, sad undertone. ( slide number 9 ) (listening to blues music)

The blues came in world culture simultaneously with early jazz, and as it seemed in those years, inextricably linked with it. First, what is the blues in general. These are the secular lyric songs of the Negroes who lived along the Mississippi River. These were solo songs accompanied by banjo or guitar. In my own way life content the blues are not at all like the sublime mournful, full of faith, suffering and protest choral chants of the spiritual. In the blues, melancholy is combined with cheerful despair, unbelief. The Negro poet Hughes wrote: “The blues always gave me the impression of infinitely sad music. Much sadder than the spiritual. It's because in the blues, sorrow is not softened by tears,on the contrary, it is hardened by laughter, the contradictory laughter of grief, which is born when there is no faith to rely on.».

Behind the wild, desperate joy of the blues lies the tragedy of the whole people.

ragtime – dance music special, rhythmic warehouse.(slide number 10)

Ragtime was music entirely for the piano. Why, of all the possible instruments known in America, did the piano become the conductor of ragtime?

What do you guys think?

(Student answers)

The bottom line is that the piano was the most common, most "home", available in the performing sense of America's instrument of that era..(listening to ragtime music)

Jazz has grown up. He was tired of the fame of a restless merry fellow and dancer. He wanted to be treated attentively and seriously, to be loved not only in moments of noisy entertainment. His character became changeable. Previously, he was praised for his hot temper, now he was seen too calm, sometimes even cold. And it happened somehow twitchy, nervous. And he stopped shunning the noble society - they began to see him in the Philharmonic and the Opera House. (An example of our Philharmonic)

He visited our country, and even exists in our city (Youth Jazz Band Fusion Band in the program: "Jazz-Rock-Funk-Soul Orchestra of the Conservatory")

Today, jazz is extremely diverse. It includes a huge number of styles and directions. (You will find out on the leaves)

Teacher : To consolidate the material, I offer tests.

Let's try to draw a psychological portrait of Jazz:

1) courtesy, religiosity, importance - from (spirituals);

2) tenderness, romance, daydreaming - from (blues);

3) cheerful disposition, cheerfulness, liveliness of character - from (ragtime).

You met this direction in music in the 6th grade, remember the beautiful lullaby from J. Gershwin's opera Porgy and Bess.

(slide number 11)

George Gershwin is a famous American composer of the first half of the 20th century. In his work, he managed to combine the seemingly incompatible: the music of European late romanticism, jazz and pop music. (Slide No. 6)

The composer was born in a poor neighborhood of New York - Brooklyn, and over time, more than once called himself "a pupil of Brooklyn blacks."

Why is he so famous?

Indeed, at that time (the first half of the 20th century) there were other composers in America.

Gershwin was the first to base his music onNegro folk music of a jazz nature, combining it with the techniques of European symphonic music.It was unexpected, unusual and attracted the attention of the whole world.

This is how a style of music called "sympho-jazz" arose.

Maybe you yourself will try to decipher this word?

-(This is a fusion of symphonic music and jazz.)

Listening excerpt from Porgy and Imp

What is the basis of jazz music? (slide number 12)

Improvisation. A jazz musician is also the author of what he plays.

A jazz improviser is not a composer and performer in one person, but a special type of artist. He creates musical composition in interaction with partners in the ensemble, therefore improvisation is the art of playing, dialogue, multilateral communication in the language of music.

Rhythm

Characteristic inconsistent (syncoped), the emphasis is not on the strong, but on the weak beat, the predominance of percussion and wind musical instruments.

The role of rhythm Jazz is the main thing. The existence of rhythm. - groups are fundamentally for jazz. In itself, the inspired sense of rhythm, which a jazz artist invariably demonstrates, is capable of delighting the public.

Jazz is the same age as the 20th century and one of its biggest celebrities. He is already over 100 years old. By human standards - an old man. And musically, his age is a mere trifle. After all, a lot of things in music live for centuries and even millennia.

And now let's try to create an image of Jazz with the help of musical colors. To do this, we need to select tools that are unique to him.

(The teacher shows the instruments, the children signal with cards about the presence of an instrument in a jazz band).

Conclusion: Jazz favorite instruments: trumpet, trombone, clarinet, piano, double bass, saxophone, guitar, percussion - drums, cymbals.

5. VOCAL-CHORAL WORK

Today I will introduce you to new song. Your task is to determine the style in which it is written.

Analysis of the song of Isidor Beilin (born in 1888), a native of Russia, who at the age of 14 ended up with his parents in the United States and became one of the world's most famous composers of American popular music.

The song "The best jazz in the world" - analysis, performance.

(a song with lyrics is on the desk of each student)

Teacher: Jazz is a unique phenomenon of the 20th century, a musical phenomenon. It presents a wide panorama of sounds and evokes many emotions - you just need to be able to hear them and let them enjoy.

Reflection:

Summing up, we will try to remember everything that was said in this lesson.

1. How did jazz come about? Where do its origins come from?

2. What styles of jazz have you heard today? (ragtime, blues).

3. American composer of the 20th century.

4. Composing music while performing it.

5. The genre of the Negro song that influenced the development of the jazz style. Negro religious song.

Homework

Teacher: Guys, open your diaries and write down your homework. Assignment by groups: the 1st group will prepare information about Louis Armstrong, the 2nd group - about J. Gershwin.

Analysis of the level of activity of students, assessment of knowledge.

Grading for work in the lesson in the journal and diaries of students.

Mister Jazz says goodbye to you. See you soon, young art lovers!

To the music, the children leave the classroom.

Jazz - the phenomenon of the music of the twentieth century

Jazz is a significant part of American musical culture. Having arisen on the basis of folk music, the music of black Americans, jazz has turned into an original professional art, exerting a noticeable influence on the development of modern music.

Jazz music is called American art, America's contribution to the arts. Jazz gained recognition among those who were mainly brought up on the traditions of Western European concert music.

Today jazz has adherents and performers in all parts of the world, has penetrated into the culture of all countries. It is fair to say that jazz is world music, and the first in this regard.

Jazz (English jazz) developed in the southern states of the United States at the turn of the 19th and 20th centuries as a result of the synthesis of European and African musical culture. The carriers of African culture were American blacks - the descendants of slaves taken out of Africa. This manifested itself in ritual dances, work songs, spiritual hymns - spirituals, lyrical blues and ragtimes, gospels (Negro psalms) that arose during the 18th - 20th centuries in the process of assimilation by blacks of the culture of the white population of the United States.

The main features of jazz are the fundamental role of rhythm, regular metrical pulsation, or “beat” (English beat - beating), melodic accents that give rise to a feeling of wave-like movement (swing), improvisational beginning, etc. Jazz is also called an orchestra, consisting mainly of wind, percussion and noise instruments designed for the performance of such music.

Jazz is par excellence the performing arts. For the first time this word appeared in 1913 in one of the San Francisco newspapers, in 1915 it entered the name of T. Brown's jazz orchestra, which performed in Chicago, and in 1917 it appeared on a gramophone record recorded by the famous New Orleans orchestra Original DixieIand Jazz ( Jass Band.

The origin of the word "jazz" itself is rather obscure. However, there is no doubt. That it had a rather vulgar meaning at the time when it began to be applied to this type of music - around 1915. It should be emphasized that whites originally gave this name to music, showing their dismissive attitude towards it.

At first, the word "jazz" could only be heard in the combination "jazz band", denoting a small ensemble consisting of a trumpet, clarinet, trombone and rhythm section (it could be a banjo or guitar, tuba or double bass), interpreting the melodies of spirituals, ragtime , blues and popular songs. The performance was a collective polyphonic improvisation. Later, collective improvisation was preserved only in the opening and closing episodes, and in the rest, one voice was the soloist, supported by the rhythm section and the uncomplicated chord sound of the wind instruments.

In 18th century Europe, when improvisation was a common feature musical performance, only one musician (or singer) improvised. In jazz, with some agreement, even eight musicians can improvise at the same time. This is exactly what happened in the earliest style of jazz - in the so-called "Dixieland" ensembles.

The blues is the most important and influential of all the African American idioms for jazz. The blues used in jazz does not necessarily reflect sadness or sadness. This form is a combination of elements of the traditions of Africa and Europe. The blues is sung with melodic spontaneity and high emotionality. In the early 1920s, and possibly earlier, the blues became not only a vocal but also an instrumental genre.

Genuine ragtime appeared in the late 1890s. It immediately became popular and underwent all sorts of simplifications. At its core, ragtime was music played on instruments that had a keyboard similar to a piano. There is no doubt that the cakewalk dance (originally based on an elegant stylized parody of the cutesy manners of southern whites) preceded ragtime, so there must have been cakewalk music.

There are so-called New Orleans and Chicago styles of jazz. Natives of New Orleans created the most famous ensembles and works of jazz. Early jazz was usually performed by small orchestras of 5 to 8 instruments and featured a specific instrumental style. Feelings penetrate into jazz, hence the greater emotional upsurge and depth. In its final phase, the center of jazz development moves to Chicago. Its most prominent representatives were trumpeters Joe King Oliver and Louis Armstrong, clarinetists J. Dodds and J. Nui, pianist and composer Jelly Roll Morton, guitarist J. St. Cyr and drummer Warren Baby Dodds.

The performance of pieces by one of the first jazz bands - the Original Dixieland Jazz-Band - was recorded on gramophone records in 1917, and since 1923 the systematic recording of jazz pieces has begun.

Wide circles of the US public became acquainted with jazz immediately after the end of the First World War. His technique was picked up by a large number of performers and left its mark on all entertainment music in the United States and Western Europe.

However, from the 1920s to the mid-1930s, it was customary to apply the word "jazz" indiscriminately to almost all types of music that were influenced by jazz in rhythmic, melodic, and tonal terms.

Symphojazz (English simphojazz) is a stylistic variety of jazz combined with light-genre symphonic music. For the first time this term was used in the 1920s by the famous American conductor Paul Whiteman. In most cases it was dance music with a touch of "saloon". However, the same Whiteman initiated the creation and the first performer of George Gershwin's famous Blues Rhapsody, where the fusion of jazz and symphonic music turned out to be extremely organic. There were attempts to recreate such a synthesis in a new capacity and at a later time.

By the early 1930s, New Orleans and Chicago jazz had been replaced by the "swing" style, which was personified by "big bands", which included 3-4 saxophones, 3 trumpets, 3 trombones and a rhythm section. The term "swing" came with Louis Armstrong and was used to define the style in which his influence was strongly felt. The increase in the composition made it necessary to switch to the performance of pre-created arrangements, recorded on notes or learned directly by ear on the direct instructions of the author. The most significant contribution to the "swing" was made by F. Henderson, E. Kennedy, Duke Ellington, W. Chick Webb, J. Landsford. Each of them combined the talent of an orchestra leader, arranger, composer and instrumentalist. They were followed by the orchestras of B. Goodman, G. Miller and others, who borrowed the technical achievements of Negro musicians.

By the end of the 30s, the "swing" had exhausted itself, turning into a set of formal technical techniques. Many prominent masters of "swing" begin to develop the genres of chamber and concert jazz. Performing in small ensembles, they create a series of pieces addressed equally to both the dancing public and a relatively narrow circle of connoisseur listeners. Ellington recorded with his orchestra the "Reminiscence in Tempo" suite, which took jazz beyond a three-minute dance routine.

The decisive turning point came in the early 40s, when a group of musicians led a new direction in jazz, calling it the onomatopoeic word "bebop". He laid the foundation for modern jazz (English modern jazz - modern jazz) - this term is used to denote the styles and directions of jazz that arose after the dominance of swing. Bebop asserted the final break of jazz from the realm of recreational music. In artistic terms, he opened the way for the independent development of jazz as one of the branches of modern musical art.

In the 1940s, the most popular orchestra was the Glenn Miller Orchestra. Nevertheless, the credit for the true creativity in jazz during these years belongs to Duke Ellington, who, according to one critic, released masterpieces, it seems, every week.

At the end of the 1940s, a direction of “cool” jazz emerged, characterized by moderate sonority, transparency of colors and the absence of sharp dynamic contrasts. The emergence of this direction is associated with the activities of the trumpeter M. Davis. In the future, "cool" jazz was practiced mainly by groups that worked on the west coast of the United States.

In the jazz of the 1940s and 1950s, the harmonic language becomes more and more chromatic, even "neo-Debussian", and the musicians perform complex popular melodies. At the same time, they continue to express the traditional essence of the blues. And music preserved and expanded the vitality of its rhythmic basis.

The most important events in the history of jazz center around composers who synthesize music and give it general forms, and then around individual musicians, inventive soloists who periodically update the jazz vocabulary. Sometimes these stages are interchangeable, from Morton's synthesis to Armstrong's innovations, from Ellington's synthesis to Parker's innovations.

Since the second half of the 20th century, the number of the most diverse artistic concepts and manners of performing jazz music has been increasing. A significant contribution to the improvement of the technique of jazz composition was made by the Modern Jazz Quartet ensemble, which synthesized the principles of "bebop", "cool jazz" and European polyphony of the 17th - 18th centuries. This trend led to the creation of extended pieces for mixed orchestras, including academic musicians and jazz improvisers. This further deepened the gap between jazz and the field of entertainment music and finally alienated the general public from it.

In search of a suitable substitute, dancing youth began to turn to the rhythm-and-blues genre of Negro everyday music (rhythm-and-blues), which combines expressive blues-style vocal performance with energetic drum accompaniment and electric guitar or saxophone cues. In this form, the music served as the forerunner of the "rock and roll" of the 50s and 60s, which had a great influence on the composition and performance of popular songs. In turn, boogie-woogie, which was very popular in the United States in the late 30s (in fact, they are much older), are styles of blues played on the piano.

At the end of the 50s, another popular genre joined rhythm and blues - soul (English soul - soul), which is a secular version of one of the branches of Negro sacred music.

Another jazz trend of the late 60s - early 70s is due to the growing interest in the folklore and professional musical art of Asia and Africa. A number of plays by various authors based on the material of folk tunes and dances of Ghana, Nigeria, Sudan, Egypt and the countries of the Arabian Peninsula appear.

In the late 60s, a genre of jazz music using traditional rock emerged in the United States, influenced by the Negro musician Miles Davis and his students, who tried to make their music more clear and accessible. The boom of "intellectual" rock and the novelty of the style made it extremely popular in the mid-1970s. Later, jazz-rock broke up into several more specific forms, some of its adherents returned to traditional jazz, some came to frank pop music, and only a few continued to look for ways for a deeper interpenetration of jazz and rock. Modern forms jazz-rock is better known as fusion.

For decades, the development of jazz has been largely spontaneous and largely determined by chance. Remaining primarily a phenomenon of African-American culture, the system of the musical language of jazz and the principles of its performance are gradually acquiring international character. Jazz is able to easily assimilate the artistic elements of any musical culture, while maintaining its originality and integrity.

The arrival of jazz in Europe in the late 1910s immediately attracted the attention of cutting-edge composers. Separate elements of the structure, intonational-rhythmic turns and techniques were used in their works by C. Debussy, I. F. Stravinsky, M. Ravel, C. Weil and others.

At the same time, the influence of jazz on the work of these composers was limited and short-lived. In the United States, the fusion of jazz with the music of the European tradition gave rise to the work of J. Gershwin, who entered the history of music as the most prominent representative of symphonic jazz.

Thus, the history of jazz can be stated in terms of the development of the rhythm sections and the relationship of jazz musicians to the trumpet part.

European jazz ensembles began to emerge in the early 1920s, but until the end of the Second World War, the lack of support from a mass audience forced them to perform mainly pop and dance repertoire. After 1945, over the next 15-20 years, in most capitals and large cities of Europe, a cadre of instrumentalists was formed who mastered the technique of performing almost all forms of jazz: M. Legrand, H. Littleton, R. Scott, J. Dankworth, L. Gullin, V Schleter, J. Kwasnitsky.

Jazz functions in an environment where it competes with other forms of popular music. At the same time, it is such a popular art that it has received the highest and widely accepted appreciation and respect and has attracted the attention of critics and scholars alike. In addition, changes in other forms of popular music sometimes seem like a fad. Jazz, for its part, evolves and develops. Its performers took a lot from the music of the past and built their own music on it. And, as S. Dance said, “the best musicians have always been ahead of their audiences” .

List of used literature

Jazz / Musical Encyclopedia. T. 2. S. 211-216.

Mikhailov J.K. Reflections on American music // USA. Economy, politics, ideology. 1978. No. 12. pp. 28-39.

Pereverzev L. Working songs of the Negro people // Sov. music. 1963. No. 9. pp. 125-128.

Troitskaya G. Jazz Singer. To tours of foreign pop music // Theatre. 1961. No. 12. pp. 184-185.

Williams M. A Brief History of Jazz // USA. Economy, politics, ideology. 1974. No. 10. pp. 84-92. No. 11. pp. 107-114.

Chapter I. The art of jazz: from mass to elite.

1.1. The development of jazz in the first half of the 20th century.

1.2. Features of jazz culture.

1.3. jazz subculture.

Conclusions to the first chapter.

Chapter II. Dynamics of development of jazz in the artistic culture of the XX century.

2.1. Historical change of styles (stride, swing, be-bop).

2.2. Jazz musicians of the first half of the 20th century.

2.3. Interpenetration and mutual influence of jazz and other arts.

Conclusions to the second chapter.

Introduction to the thesis (part of the abstract) on the theme "Jazz in the cultural space of the XX century"

Dissertation conclusion on the topic "Theory and history of culture", Kornev, Petr Kazimirovich

List of references for dissertation research Candidate of Cultural Studies Kornev, Petr Kazimirovich, 2009

Please note that the scientific texts presented above are posted for review and obtained through original dissertation text recognition (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Jazz - a form of musical art that arose at the end of the 19th - beginning of the 20th century in the USA, in New Orleans, as a result of the synthesis of African and European cultures and subsequently became widespread. The origins of jazz were the blues and other African American folk music. Characteristic features of the musical language of jazz initially became improvisation, polyrhythm based on syncopated rhythms, and a unique set of techniques for performing rhythmic texture - swing. Further development of jazz occurred due to the development of new rhythmic and harmonic models by jazz musicians and composers. Jazz sub-jazzes are: avant-garde jazz, bebop, classical jazz, cool, modal jazz, swing, smooth jazz, soul jazz, free jazz, fusion, hard bop and a number of others.

History of the development of jazz

Wilex College Jazz Band, Texas

Jazz arose as a combination of several musical cultures and national traditions. It originally came from Africa. Any African music is characterized by a very complex rhythm, music is always accompanied by dances, which are fast stomping and clapping. On this basis, at the end of the 19th century, another musical genre emerged - ragtime. Subsequently, the rhythms of ragtime, combined with elements of the blues, gave rise to a new musical direction - jazz.

The blues originated at the end of the 19th century as a fusion of African rhythms and European harmony, but its origins should be sought from the moment slaves were brought from Africa to the New World. The brought slaves did not come from the same clan and usually did not even understand each other. The need for consolidation led to the unification of many cultures and, as a result, to the creation of a single culture (including music) of African Americans. The processes of mixing African musical culture, and European (which also underwent serious changes in the New World) took place starting from the 18th century and in the 19th century led to the emergence of "proto-jazz", and then jazz in the generally accepted sense. The cradle of jazz was the American South, and especially New Orleans.
Pledge eternal youth jazz - improvisation
The peculiarity of the style is the unique individual performance of the jazz virtuoso. The key to the eternal youth of jazz is improvisation. After the emergence of a brilliant performer who lived his whole life in the rhythm of jazz and still remains a legend - Louis Armstrong, the art of jazz performance saw new unusual horizons for itself: vocal or instrumental solo performance becomes the center of the entire performance, completely changing ideas about jazz. Jazz is not only a certain type of musical performance, but also a unique cheerful era.

new orleans jazz

The term New Orleans is commonly used to describe the style of musicians who played jazz in New Orleans between 1900 and 1917, as well as New Orleans musicians who played in Chicago and recorded records from about 1917 through the 1920s. This period of jazz history is also known as the Jazz Age. And the term is also used to describe the music played in different historical periods by New Orleans revivalists who sought to play jazz in the same style as New Orleans school musicians.

African-American folklore and jazz have parted ways since the opening of Storyville, New Orleans' red-light district famed for its entertainment venues. Those who wanted to have fun and have fun here were waiting for a lot of seductive opportunities that offered dance floors, cabaret, variety shows, circus, bars and eateries. And everywhere in these institutions music sounded and musicians who mastered the new syncopated music could find work. Gradually, with the growth of the number of musicians working professionally in the entertainment establishments of Storyville, the number of marching and street brass bands decreased, and instead of them, the so-called Storyville ensembles arose, the musical manifestation of which becomes more individual, in comparison with the playing of brass bands. These compositions, often called "combo orchestras" and became the founders of the style of classical New Orleans jazz. Between 1910 and 1917, Storyville's nightclubs became the ideal setting for jazz.
Between 1910 and 1917, Storyville's nightclubs became the ideal setting for jazz.
The development of jazz in the United States in the first quarter of the 20th century

After the closure of Storyville, jazz began to turn from a regional folk genre into a nationwide musical direction, spreading to the northern and northeastern provinces of the United States. But of course, only the closure of one entertainment quarter could not contribute to its wide distribution. Along with New Orleans, in the development of jazz great importance St. Louis, Kansas City, and Memphis played from the start. Ragtime was born in Memphis in the 19th century, from where it then spread throughout the North American continent in the period 1890-1903.

On the other hand, representations of minstrels, with their motley mosaic of various musical currents African-American folklore from jig to ragtime, quickly spread everywhere and set the stage for the arrival of jazz. Many future jazz celebrities began their journey in the minstrel show. Long before Storyville closed, New Orleans musicians were touring with so-called "vaudeville" troupes. Jelly Roll Morton from 1904 toured regularly in Alabama, Florida, Texas. From 1914 he had a contract to perform in Chicago. In 1915 he moved to Chicago and Tom Brown's White Dixieland Orchestra. Major vaudeville tours in Chicago were also made by the famous Creole Band, led by New Orleans cornet player Freddie Keppard. Having separated at one time from the Olympia Band, the artists of Freddie Keppard already in 1914 successfully performed in the very the best theater Chicago and received an offer to make a sound recording of their performances even before the "Original Dixieland Jazz Band", which, however, Freddie Keppard short-sightedly rejected. Significantly expanded the territory covered by the influence of jazz, orchestras playing on pleasure steamers that sailed up the Mississippi.

Since the end of the 19th century, river trips from New Orleans to St. Paul have become popular, first for the weekend, and later for the whole week. Since 1900, New Orleans orchestras have been performing on these riverboats, the music of which has become the most attractive entertainment for passengers during river tours. In one of these orchestras, Suger Johnny, Louis Armstrong's future wife, the first jazz pianist Lil Hardin, began. The riverboat band of another pianist, Faiths Marable, featured many future New Orleans jazz stars.

Steamboats that traveled along the river often stopped at passing stations, where orchestras arranged concerts for the local public. It was these concerts that became creative debuts for Bix Beiderbeck, Jess Stacy and many others. Another famous route ran along the Missouri to Kansas City. In this city, where, thanks to the strong roots of African-American folklore, the blues developed and finally took shape, the virtuoso playing of New Orleans jazzmen found an exceptionally fertile environment. By the early 1920s, Chicago became the main center for the development of jazz music, in which, through the efforts of many musicians who gathered from different parts of the United States, a style was created that was nicknamed Chicago jazz.

Big bands

The classic, established form of big bands has been known in jazz since the early 1920s. This form retained its relevance until the end of the 1940s. The musicians who entered most big bands, as a rule, almost in their teens, played quite definite parts, either learned in rehearsals or from notes. Careful orchestrations, along with massive brass and woodwind sections, produced rich jazz harmonies and produced the sensationally loud sound that became known as "the big band sound".

The big band became the popular music of its day, reaching its peak in the mid-1930s. This music became the source of the swing dance craze. The leaders of the famous jazz bands Duke Ellington, Benny Goodman, Count Basie, Artie Shaw, Chick Webb, Glenn Miller, Tommy Dorsey, Jimmy Lunsford, Charlie Barnet composed or arranged and recorded on records a genuine hit parade of tunes that sounded not only on the radio , but everywhere in dance halls. Many big bands showed their solo improvisers, who brought the audience to a state close to hysteria during well-hyped "battles of the orchestras".
Many big bands demonstrated their solo improvisers, who brought the audience to a state close to hysteria.
Although the popularity of big bands declined significantly after World War II, orchestras led by Basie, Ellington, Woody Herman, Stan Kenton, Harry James, and many others toured and recorded frequently over the next few decades. Their music was gradually transformed under the influence of new trends. Groups such as ensembles led by Boyd Ryburn, Sun Ra, Oliver Nelson, Charles Mingus, Thad Jones-Mal Lewis explored new concepts in harmony, instrumentation and improvisational freedom. Today, big bands are the standard in jazz education. Repertory orchestras such as the Lincoln Center Jazz Orchestra, the Carnegie Hall Jazz Orchestra, the Smithsonian Jazz Masterpiece Orchestra, and the Chicago Jazz Ensemble regularly play original arrangements of big band compositions.

northeastern jazz

Although the history of jazz began in New Orleans with the advent of the 20th century, this music experienced a real rise in the early 1920s, when trumpeter Louis Armstrong left New Orleans to create new revolutionary music in Chicago. The migration of New Orleans jazz masters to New York that began shortly thereafter marked a trend of continuous movement of jazz musicians from the South to the North.

Louis Armstrong

Chicago embraced New Orleans music and made it hot, turning it upside down not only with Armstrong's famed Hot Five and Hot Seven ensembles, but others as well, including the likes of Eddie Condon and Jimmy McPartland, whose Austin High School crew helped revive the New Orleans schools. Other notable Chicagoans who have pushed the boundaries of classic New Orleans jazz include pianist Art Hodes, drummer Barrett Deems, and clarinetist Benny Goodman. Armstrong and Goodman, who eventually moved to New York, created a kind of critical mass there that helped this city turn into a real jazz capital of the world. And while Chicago remained primarily the center of sound recording in the first quarter of the 20th century, New York also emerged as the premier jazz venue, hosting legendary venues such as the Minton Playhouse, the Cotton Club, the Savoy and the Village Vanguard, and as well as arenas such as Carnegie Hall.

Kansas City Style

During the era of the Great Depression and Prohibition, the Kansas City jazz scene became a mecca for the newfangled sounds of the late 1920s and 1930s. The style that flourished in Kansas City is characterized by soulful blues-tinged pieces, performed by both big bands and small swing ensembles, demonstrating very energetic solos, performed for patrons of taverns with illegally sold liquor. It was in these pubs that the style of the great Count Basie crystallized, starting in Kansas City with Walter Page's orchestra and later with Benny Moten. Both of these orchestras were typical representatives of the Kansas City style, which was based on a peculiar form of blues, called "urban blues" and formed in the playing of the above orchestras. The jazz scene of Kansas City was also distinguished by a whole galaxy of outstanding masters of the vocal blues, the recognized "king" among which was the longtime soloist of the Count Basie Orchestra, the famous blues singer Jimmy Rushing. The famous alto saxophonist Charlie Parker, who was born in Kansas City, upon his arrival in New York, widely used the characteristic blues "chips" he had learned in the Kansas City orchestras and later formed one of the starting points in the experiments of boppers in the 1940s.

Jazz West coast

Artists captured by the cool jazz movement in the 1950s worked extensively in the Los Angeles recording studios. Largely influenced by nonet Miles Davis, these Los Angeles-based performers developed what is now known as West Coast Jazz. West Coast jazz was much softer than the furious bebop that had preceded it. Most West Coast jazz has been written out in great detail. The counterpoint lines often used in these compositions seemed to be part of the European influence. However, this music left a lot of space for long linear solo improvisations. Although West Coast Jazz was performed primarily in recording studios, clubs such as the Lighthouse on Hermosa Beach and the Haig in Los Angeles often featured its masters, which included trumpeter Shorty Rogers, saxophonists Art Pepper and Bud Shenk, drummer Shelley Mann and clarinetist Jimmy Giuffrey.

The Spread of Jazz

Jazz has always aroused interest among musicians and listeners around the world, regardless of their nationality. It suffices to trace the early work of trumpeter Dizzy Gillespie and his synthesis of jazz traditions with black Cuban music in the 1940s or later, the fusion of jazz with Japanese, Eurasian and Middle Eastern music, famous in the work of pianist Dave Brubeck, as well as in the brilliant composer and leader of jazz - Duke Ellington's orchestra, which combined musical heritage Africa, Latin America and the Far East.

Dave Brubeck

Jazz constantly absorbed and not only Western musical traditions. For example, when various artists began to try to work with the musical elements of India. An example of this effort can be heard in the recordings of flautist Paul Horn at the Taj Mahal, or in the stream of "world music" represented, for example, by the Oregon band or John McLaughlin's Shakti project. McLaughlin's music, formerly largely based on jazz, began to use new instruments of Indian origin, such as the khatam or tabla, during his work with Shakti, intricate rhythms sounded and the form of the Indian raga was widely used.
As the globalization of the world continues, jazz is constantly influenced by other musical traditions
The Art Ensemble of Chicago was an early pioneer in the fusion of African and jazz forms. The world later came to know saxophonist/composer John Zorn and his exploration of Jewish musical culture, both within and outside the Masada orchestra. These works have inspired entire groups of other jazz musicians, such as keyboardist John Medeski, who has recorded with African musician Salif Keita, guitarist Marc Ribot and bassist Anthony Coleman. Trumpeter Dave Douglas brings Balkan influences to his music with inspiration, while Asian-American Jazz Orchestra(Asian-American Jazz Orchestra) emerged as a leading proponent of the convergence of jazz and Asian musical forms. As the globalization of the world continues, jazz is constantly being influenced by other musical traditions, providing mature food for future research and proving that jazz is truly world music.

Jazz in the USSR and Russia

The first in the RSFSR jazz band of Valentin Parnakh

The jazz scene originated in the USSR in the 1920s, simultaneously with its heyday in the USA. The first jazz orchestra in Soviet Russia was created in Moscow in 1922 by the poet, translator, dancer, theater figure Valentin Parnakh and was called "Valentin Parnakh's First Eccentric Jazz Band Orchestra in the RSFSR". October 1, 1922 is traditionally considered the birthday of Russian jazz, when the first concert of this group took place. The orchestra of pianist and composer Alexander Tsfasman (Moscow) is considered to be the first professional jazz ensemble to perform on the radio and record a disc.

Early Soviet jazz bands specialized in performing fashionable dances (foxtrot, Charleston). In the mass consciousness, jazz began to gain wide popularity in the 30s, largely due to the Leningrad ensemble led by actor and singer Leonid Utesov and trumpeter Ya. B. Skomorovsky. The popular film comedy with his participation "Merry Fellows" (1934) was dedicated to the history of a jazz musician and had a corresponding soundtrack (written by Isaac Dunayevsky). Utyosov and Skomorovsky formed the original style of "tea-jazz" (theatrical jazz), based on a mixture of music with theater, operetta, vocal numbers and an element of performance played a large role in it. A notable contribution to the development of Soviet jazz was made by Eddie Rosner, a composer, musician and leader of orchestras. Having started his career in Germany, Poland and other European countries, Rozner moved to the USSR and became one of the pioneers of swing in the USSR and the initiator of Belarusian jazz.
In the mass consciousness, jazz began to gain wide popularity in the USSR in the 1930s.
The attitude of the Soviet authorities towards jazz was ambiguous: as a rule, domestic jazz performers were not banned, but harsh criticism of jazz as such was widespread in the context of criticism of Western culture in general. In the late 1940s, during the struggle against cosmopolitanism, jazz in the USSR experienced a particularly difficult period, when groups performing "Western" music were persecuted. With the onset of the thaw, the repressions against the musicians were stopped, but the criticism continued. According to the research of professor of history and American culture Penny Van Eschen, the US State Department tried to use jazz as an ideological weapon against the USSR and against the expansion of Soviet influence in the third world countries. In the 50s and 60s. in Moscow, the orchestras of Eddie Rozner and Oleg Lundstrem resumed their activities, new compositions appeared, among which the orchestras of Iosif Weinstein (Leningrad) and Vadim Ludvikovsky (Moscow), as well as the Riga Variety Orchestra (REO), stood out.

Big bands brought up a whole galaxy of talented arrangers and solo improvisers, whose work brought Soviet jazz to a qualitatively new level and brought it closer to world standards. Among them are Georgy Garanyan, Boris Frumkin, Alexei Zubov, Vitaly Dolgov, Igor Kantyukov, Nikolai Kapustin, Boris Matveev, Konstantin Nosov, Boris Rychkov, Konstantin Bakholdin. The development of chamber and club jazz in all its diversity of style begins (Vyacheslav Ganelin, David Goloshchekin, Gennady Golshtein, Nikolai Gromin, Vladimir Danilin, Alexei Kozlov, Roman Kunsman, Nikolai Levinovsky, German Lukyanov, Alexander Pishchikov, Alexei Kuznetsov, Viktor Fridman, Andrey Tovmasyan , Igor Bril, Leonid Chizhik, etc.)

Jazz Club "Blue Bird"

Many of the above masters of Soviet jazz began their creative way on the stage of the legendary Moscow jazz club "Blue Bird", which existed from 1964 to 2009, discovering new names of representatives of the modern generation of Russian jazz stars (brothers Alexander and Dmitry Bril, Anna Buturlina, Yakov Okun, Roman Miroshnichenko and others). In the 70s, the jazz trio "Ganelin-Tarasov-Chekasin" (GTC) consisting of pianist Vyacheslav Ganelin, drummer Vladimir Tarasov and saxophonist Vladimir Chekasin, which existed until 1986, became widely known. In the 70-80s, the jazz quartet from Azerbaijan "Gaya", the Georgian vocal and instrumental ensembles "Orera" and "Jazz-Khoral" were also known.

After the decline of interest in jazz in the 90s, it began to gain popularity again in youth culture. Jazz music festivals are held annually in Moscow, such as Usadba Jazz and Jazz in the Hermitage Garden. The most popular jazz club venue in Moscow is the Union of Composers jazz club, which invites world-famous jazz and blues performers.

Jazz in the modern world

The modern world of music is as diverse as the climate and geography that we learn through travel. And yet, today we are seeing a mixture of everything more world cultures, constantly bringing us closer to what in essence is already becoming " world music» (world music). Today's jazz cannot but be influenced by sounds penetrating into it from almost every corner. the globe. European experimentalism with classical overtones continues to influence the music of young pioneers such as Ken Vandermark, a frigid avant-garde saxophonist known for his work with such notable contemporaries as saxophonists Mats Gustafsson, Evan Parker and Peter Brotzmann. Other more traditional young musicians who continue to search for their own identities include pianists Jackie Terrasson, Benny Green and Braid Meldoa, saxophonists Joshua Redman and David Sanchez, and drummers Jeff Watts and Billy Stewart.

old tradition sound is rapidly continued by artists such as trumpeter Wynton Marsalis, who works with the whole team assistants, both in his own small bands and in the Lincoln Center Jazz Band, which he leads. Under his patronage, pianists Marcus Roberts and Eric Reid, saxophonist Wes "Warmdaddy" Anderson, trumpeter Markus Printup and vibraphonist Stefan Harris grew into great musicians. Bassist Dave Holland is also a great discoverer of young talent. Among his many discoveries are artists such as saxophonist/M-bassist Steve Coleman, saxophonist Steve Wilson, vibraphonist Steve Nelson and drummer Billy Kilson. Other great mentors of young talent include pianist Chick Corea and the late drummer Elvin Jones and singer Betty Carter. The potential for the further development of jazz is currently quite large, since the ways of developing talent and the means of its expression are unpredictable, multiplying by the combined efforts of various jazz genres encouraged today.

Soul, swing?

Probably everyone knows how a composition in this style sounds. This genre originated at the beginning of the 20th century in the United States of America and is a certain combination of African and European culture. Amazing music almost immediately attracted attention, found its fans and quickly spread throughout the world.

It is quite difficult to convey a jazz musical cocktail, as it combines:

• bright and live music;
• the unique rhythm of African drums;
• church hymns of Baptists or Protestants.

What is jazz in music? It is very difficult to give a definition to this concept, since at first glance, incompatible motives sound in it, which, interacting with each other, give the world unique music.

Peculiarities

What characteristic features has jazz? What is Jazz Rhythm? And what are the features of this music? Distinctive features styles are:

• certain polyrhythm;
• constant ripple of bits;
• set of rhythms;
• improvisation.

The musical range of this style is colorful, bright and harmonious. It clearly shows several separate timbres that merge together. The style is based on a unique combination of improvisation with a pre-thought-out melody. Improvisation can be done by one soloist or by several musicians in an ensemble. The main thing is that the overall sound is clear and rhythmic.

Jazz history

This musical direction has developed and formed over the course of a century. Jazz arose from the very depths of African culture, as black slaves, who were brought from Africa to America in order to understand each other, learned to be one. And, as a result, they created a single musical art.

The performance of African melodies is characterized by dance movements and the use of complex rhythms. All of them, together with the usual blues melodies, formed the basis for the creation of a completely new musical art.

The whole process of combining African and European culture in jazz art began at the end of the 18th century, continued throughout the 19th century, and only at the end of the 20th century led to the emergence of a completely new direction in music.

When did jazz appear? What is West Coast Jazz? The question is rather ambiguous. This direction appeared in the south of the United States of America, in New Orleans, approximately at the end of the nineteenth century.

The initial stage of the emergence of jazz music is characterized by a kind of improvisation and work on the same musical composition. It was played by the main soloist on the trumpet, trombone and clarinet players in combination with percussion musical instruments against the background of marching music.

Basic styles

The history of jazz began a long time ago, and as a result of the development of this musical direction, many different styles have appeared. For example:

• archaic jazz;
• blues;
• soul;
• soul jazz;
• skat;
• New Orleans style of jazz;
• sound;
• swing.

The birthplace of jazz has left a big imprint on the style of this musical direction. The very first and traditional type created by a small ensemble was archaic jazz. Music is created in the form of improvisation on the themes of blues, as well as European songs and dances.

Enough characteristic direction can be considered a blues, the melody of which is based on a clear beat. This variety of the genre is characterized by a compassionate attitude and the glorification of lost love. At the same time, light humor can be traced in the texts. Jazz music implies a kind of instrumental dance piece.

Traditional Negro music is the direction of soul, directly related to blues traditions. Quite interesting sounds New Orleans jazz, which is distinguished by a very accurate two-beat rhythm, as well as the presence of several separate melodies. This direction is characterized by the fact that the main theme is repeated several times in various variations.

In Russia

Jazz was very popular in our country in the thirties. What is blues and soul Soviet musicians knotted in the thirties. The attitude of the authorities towards this direction was very negative. Initially, jazz performers were not banned. However, there was a rather harsh criticism of this musical direction as a component of the entire Western culture.

In the late 1940s, jazz bands were persecuted. Over time, repression against musicians ceased, but criticism continued.

Interesting and Fascinating Jazz Facts

The birthplace of jazz is America, where various musical styles were combined. For the first time this music appeared among the oppressed and disenfranchised representatives African people who were forcibly taken away from their homeland. During the rare hours of rest, the slaves sang traditional songs, accompanying themselves with clapping their hands, since they did not have musical instruments.

At the very beginning it was the real African music. However, over time, it changed, and the motives of religious Christian hymns appeared in it. At the end of the 19th century, other songs appeared in which there was a protest and complaints about their lives. Such songs began to be called the blues.

The main feature of jazz is free rhythm, as well as complete freedom in melodic style. Jazz musicians had to be able to improvise individually or collectively.

Since its inception in the city of New Orleans, jazz has gone through a rather difficult path. It spread first in America and then all over the world.

Top Jazz Artists

Jazz is a special kind of music filled with unusual ingenuity and passion. She knows no boundaries and limits. Well-known jazz performers are able to literally breathe life into music and fill it with energy.

most famous jazz performer considered Louis Armstrong, who is revered for his lively style, virtuosity, ingenuity. Armstrong's influence on jazz music is invaluable as he is one of the greatest musicians of all time.

Duke Ellington made a great contribution to this direction, as he used his musical group as a musical laboratory for experiments. For all the years of his creative activity, he wrote many original and unique compositions.

In the early 80s, Wynton Marsalis became a real discovery, as he preferred to play acoustic jazz, which made a splash and provoked a new interest in this music.