Jazz: what is (definition), history of appearance, birthplace of jazz. Famous representatives of the musical direction

Jazz– a unique phenomenon in world musical culture. This multifaceted art form originated at the turn of the century (XIX and XX) in the USA. Jazz music has become the brainchild of the cultures of Europe and Africa, a unique fusion of trends and forms from two regions of the world. Subsequently, jazz spread beyond the United States and became popular almost everywhere. This music takes its basis in African folk songs, rhythms and styles. In the history of development this direction There are many forms and types of jazz known, which appeared as new models of rhythms and harmonics were mastered.

Characteristics of Jazz

The synthesis of two musical cultures made jazz a radically new phenomenon in world art. The specific features of this new music were:

Syncopated rhythms giving rise to polyrhythms.
The rhythmic pulsation of music is the beat.
Complex deviation from the beat - swing.
Constant improvisation in compositions.
A wealth of harmonics, rhythms and timbres.

The basis of jazz, especially in the first stages of development, was improvisation combined with a thoughtful form (at the same time, the form of the composition was not necessarily fixed somewhere). And from African music this new style took the following characteristic features:

Understanding each instrument as a percussion instrument.
Popular conversational intonations when performing compositions.
Similar imitation of conversation when playing instruments.

In general, all directions of jazz are distinguished by their own local characteristics, and therefore it is logical to consider them in the context of historical development.

The emergence of jazz, ragtime (1880-1910s)

It is believed that jazz originated among black slaves brought from Africa to the United States of America in the 18th century. Since the captive Africans were not represented by a single tribe, they had to look for mutual language with relatives in the New World. Such consolidation led to the emergence of a unified African culture in America, which included musical culture. It was not until the 1880s and 1890s that the first jazz music emerged as a result. This style was driven by global demand for popular dance music. Since African musical art abounded in such rhythmic dances, it was on its basis that a new direction was born. Thousands of middle-class Americans who did not have the opportunity to master aristocratic classical dancing, began to dance to the piano in ragtime style. Ragtime introduced several future bases of jazz into music. So, chief representative This style, Scott Joplin, is the author of the “3 versus 4” element (cross-sounding rhythmic patterns with 3 and 4 units, respectively).

New Orleans (1910–1920s)

Classic jazz appeared at the beginning of the twentieth century in the southern states of America, and specifically in New Orleans (which is logical, because the slave trade was widespread in the south).

African and Creole orchestras played here, creating their music under the influence of ragtime, blues and songs of black workers. After the appearance in the city of many musical instruments from military bands, amateur groups began to appear. The legendary New Orleans musician, creator of his own orchestra, King Oliver, was also self-taught. An important date in the history of jazz was February 26, 1917, when the Original Dixieland Jazz Band released its first gramophone record. The main features of the style were also laid down in New Orleans: beat percussion instruments, masterful solo, vocal improvisation with syllables - scat.

Chicago (1910–1920s)

In the 1920s, called the “Roaring Twenties” by classicists, jazz music gradually entered mass culture, losing the titles “shameful” and “indecent.” Orchestras begin to perform in restaurants and move from the southern states to other parts of the United States. Chicago becomes the center of jazz in the north of the country, where free nightly performances by musicians become popular (during such shows there were frequent improvisations and outside soloists). More complex arrangements appear in the style of music. The jazz icon of this time was Louis Armstrong, who moved to Chicago from New Orleans. Subsequently, the styles of the two cities began to be combined into one genre of jazz music - Dixieland. The main feature of this style was collective mass improvisation, which raised main idea jazz absolutely.

Swing and big bands (1930s–1940s)

The continued rise in popularity of jazz created a demand for large orchestras to play dance tunes. This is how swing appeared, representing characteristic deviations in both directions from the rhythm. Swing became the main style direction of that time, manifesting itself in the work of orchestras. The performance of harmonious dance compositions required a more coordinated playing of the orchestra. Jazz musicians were expected to participate evenly, without much improvisation (except for the soloist), so the collective improvisation of Dixieland became a thing of the past. In the 1930s, similar groups flourished, which were called big bands. A characteristic feature of orchestras of that time was competition between groups of instruments and sections. Traditionally, there were three of them: saxophones, trumpets, drums. The most famous jazz musicians and their orchestras are: Glenn Miller, Benny Goodman, Duke Ellington. The last musician is famous for his commitment to black folklore.

Bebop (1940s)

Swing's departure from the traditions of early jazz and, in particular, classical African melodies and styles, caused discontent among history experts. Big bands and swing performers, who increasingly worked for the public, began to be opposed by the jazz music of small ensembles of black musicians. Experimenters introduced super-fast melodies, brought back long improvisation, complex rhythms, and virtuoso control of the solo instrument. A new style, positioning itself as exclusive, began to be called bebop. The icons of this period were outrageous jazz musicians: Charlie Parker and Dizzy Gillespie. The revolt of black Americans against the commercialization of jazz, the desire to return intimacy and uniqueness to this music became a key point. From this moment and from this style, the history of modern jazz begins. At the same time, big band leaders also come to small orchestras, wanting to take a break from large halls. In ensembles called combos, such musicians adhered to a swing style, but were given freedom to improvise.

Cool jazz, hard bop, soul jazz and jazz-funk (1940s–1960s)

In the 1950s, the genre of music such as jazz began to develop in two opposite directions. Supporters classical music“cooled down” bebop, bringing it back into fashion academic music, polyphony, arrangement. Cool jazz became known for its restraint, dryness and melancholy. The main representatives of this direction of jazz were: Miles Davis, Chet Baker, Dave Brubeck. But the second direction, on the contrary, began to develop the ideas of bebop. The hard bop style preached the idea of returning to the roots of black music. Traditional folklore melodies, bright and aggressive rhythms, explosive soloing and improvisation have returned to fashion. Known in the hard bop style are: Art Blakey, Sonny Rollins, John Coltrane. This style developed organically along with soul-jazz and jazz-funk. These styles moved closer to the blues, making rhythm a key aspect of performance. Jazz-funk in particular was introduced by Richard Holmes and Shirley Scott.

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 20th century.

2.1. Historical change of styles (stride, swing, bebop).

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 of the dissertation (part of the abstract) on the topic "Jazz in the cultural space of the 20th century"

The relevance of research. In world artistic culture, jazz throughout the 20th century evoked great amount disputes and discussions. For better understanding and adequate perception of the specifics of the place, role and significance of music in modern culture, it is necessary to study the formation and development of jazz, which has become a fundamentally new phenomenon not only in music, but in the spiritual life of several generations. Jazz influenced the formation of a new artistic reality in the culture of the 20th century.

Numerous reference books, encyclopedic publications, and critical literature on jazz traditionally distinguish two stages: the era of swing (late 20s - early 40s) and the formation of modern jazz (mid 40s - 50s), and also provides biographical information about each performing pianist. But we will not find any comparative characteristics or cultural analysis in these books. However, the main thing is that one of the genetic cores of jazz is in its twentieth century (1930-1949). Due to the fact that in modern jazz art we observe a balance between “yesterday’s” and “today’s” performance features, it became necessary to study the sequence of development of jazz in the first half of the 20th century, in particular, the period of the 30s-40s. During these years, three styles of jazz were improved - stride, swing and bebop, which makes it possible to talk about the professionalization of jazz and the formation of a special elite listening audience by the end of the 40s.

By the end of the 40s of the XX century, jazz became an integral part of world culture, influencing academic music, literature, painting, cinema, choreography, enriching means of expression dance and promoting talented performers and choreographers to the heights of this art. A wave of global interest in jazz-dance music (hybrid jazz) unusually developed the recording industry and contributed to the emergence of record designers, stage designers, and costume designers.

Numerous studies devoted to the style of jazz music traditionally examine the period of the 20-30s, and then explore the jazz of the 40-50s. The most important period - the 30-40s - turned out to be a gap in research works. The saturation of changes of the twenties (30s-40s) is a major factor for the seeming “non-mixing” of styles on both sides of this time “fault”. The twenty years in question were not specifically studied as a period in the history of artistic culture, in which the foundations of the styles and movements that became personifications were laid. musical culture XX-XXI centuries, and also as a turning point in the evolution of jazz from a phenomenon of mass culture into an elite art. It should also be noted that the study of jazz, stylistics and culture of performance and perception of jazz music is necessary to create the most complete understanding of the culture of our time.

The degree of development of the problem. To date, a certain tradition has developed in the study of cultural musical heritage, including the style of jazz music of the period under consideration. The basis of the research was the material accumulated in the field of cultural studies, sociology, social psychology, musicology, as well as factorological studies covering the historiography of the issue. Important for the study were the works of S. N. Ikonnikova on the history of culture and the prospects for the development of culture, V. P. Bolshakov on the meaning of culture, its development, on cultural values, V. D. Leleko, devoted to aesthetics and the culture of everyday life, the works of S. T. Makhlina on art history and semiotics of culture, N. N. Suvorov on elite and mass consciousness, on the culture of postmodernism, G. V. Skotnikova on artistic styles and cultural continuity, I. I. Travina on the sociology of the city and way of life, which are analyzed. features and structure of modern artistic culture, the role of art in the culture of a certain era. In the works of foreign scientists J. Newton, S. Finkelstein, Fr. Bergerot examines the problems of continuity of generations, the characteristics of various subcultures different from the culture of society, the development and formation of a new musical art in world culture.

The works of M. S. Kagan, Yu. U. Fokht-Babushkin, and N. A. Khrenov are devoted to the study of artistic activity. The art of jazz is considered in the foreign works of L. Fizer, J. L. Collier. The main stages in the development of jazz in the periods of the 20-30s and 40-50s. studied by J. E. Hasse and further more detailed study creative process in the formation of jazz was carried out by J. Simon, D. Clark. The publications of J. Hammond, W. Connover, and J. Glaser in periodicals of the 30s and 40s: the magazines “Metronome” and “Down Beat” seem to be very significant for understanding the “era of swing” and modern jazz.

The works of domestic scientists made a significant contribution to the study of jazz: E. S. Barban, A. N. Batashov, G. S. Vasyutochkin, Yu. T. Vermenich, V. D. Konen, V. S. Mysovsky, E. L. Rybakova, V.B. Feyertag. From publications foreign authors I. Wasserberg, T. Lehmann deserve special attention, in which the history, performers and elements of jazz are examined in detail, as well as books by Y. Panasier and W. Sargent published in Russian in the 1970s-1980s. The works of I. M. Bril and Yu. N. Chugunov, which were published in the last third of the 20th century, are devoted to the problems of jazz improvisation and the evolution of the harmonic language of jazz. Since the 1990s, over 20 dissertation studies on jazz music have been defended in Russia. The problems of the musical language of D. Brubeck (A. R. Galitsky), improvisation and composition in jazz (Yu. G. Kinus), theoretical problems of style in jazz music (O. N. Kovalenko), the phenomenon of improvisation in jazz (D. R. Livshits), the influence of jazz on professional composer's creativity Western Europe first half of the 20th century (M. V. Matyukhina), jazz - how sociocultural phenomenon(F. M. Shak); The problems of modern jazz dance in the system of choreographic education of actors are considered in the work of V. Yu. Nikitin. The problems of style education and harmony are considered in the works “Jazz Swing” by I. V. Yurchenko and in the dissertation of A. N. Fisher “Harmony in African-American jazz of the period of style modulation - from swing to bebop.” A large amount of factual material corresponding to the time of understanding and the level of development of jazz is contained in domestic publications of a reference and encyclopedic nature.

One of the fundamental reference publications, The Oxford Encyclopedia of Jazz (2000), provides a detailed description of all historical periods of jazz, styles, movements, the work of instrumentalists, vocalists, highlights the features of the jazz scene, and the spread of jazz in various countries. A number of chapters in the Oxford Encyclopedia of Jazz are devoted to the 20-30s, and then to the 40-50s, while the 30-40s are not sufficiently represented: for example, there are no comparative characteristics of jazz pianists of this period .

Despite the vastness of materials on jazz of the period under study, there are practically no studies devoted to cultural analysis stylistic features jazz performance in the context of the era, as well as the jazz subculture.

The object of the study is the art of jazz in the culture of the 20th century.

The subject of the study is the specifics and sociocultural significance of jazz of the 30-40s of the XX century.

Purpose of the work: to study the specifics and sociocultural significance of jazz of the 30-40s in the cultural space of the 20th century.

In order to achieve this goal, it is necessary to solve the following research problems:

Consider the history and features of jazz in the context of the dynamics of the cultural space of the 20th century;

Identify the reasons and conditions due to which jazz was transformed from a phenomenon of mass culture into an elite art;

Introduce the concept of jazz subculture into scientific circulation; determine the range of use of signs and symbols, terms of the jazz subculture;

Identify the origins of the emergence of new styles and movements: stride, swing, bebop in the 30s-40s of the 20th century;

To substantiate the significance of the creative achievements of jazz musicians, and in particular pianists, in the 1930-1940s for world artistic culture;

Describe jazz of the 30s and 40s as a factor that influenced the formation of modern artistic culture.

Theoretical basis dissertation research is a comprehensive cultural approach to the phenomenon of jazz. It allows you to systematize information accumulated by sociology, cultural history, musicology, semiotics and, on this basis, determine the place of jazz in world artistic culture. To solve the problems, we used following methods: integrative, involving the use of materials and research results of the complex humanities; system analysis, which allows us to identify the structural relationships of stylistic multidirectional trends in jazz; a comparative method that promotes the consideration of jazz compositions in the context of artistic culture.

Scientific novelty of the research

The range of external and internal conditions for the evolution of jazz in the cultural space of the 20th century has been determined; the specificity of jazz of the first half of the 20th century has been revealed, which formed the basis not only of all popular music, but also of new, complex artistic and musical forms ( jazz theater, art films with jazz music, jazz ballet, jazz documentary films, jazz music concerts in prestigious concert halls, festivals, show programs, design of records and posters, exhibitions of jazz musicians - artists, literature about jazz, concert jazz - jazz music written in classical forms (suites, concerts);

The role of jazz as the most important component of urban culture of the 30-40s is highlighted (municipal dance floors, street processions and performances, a chain of restaurants and cafes, closed jazz clubs);

Jazz of the 30s and 40s is characterized as a musical phenomenon that largely determined the features of modern elite and mass culture, the entertainment industry, cinema and photography, dance, fashion, and everyday culture;

The concept of jazz subculture was introduced into scientific circulation, criteria and signs of this social phenomenon were identified; the range of use of verbal terms and non-verbal symbols and signs of the jazz subculture is defined;

The originality of jazz of the WSMY-ies was determined, the features of piano jazz (stride, swing, bebop), innovations of performers that influenced the formation of the musical language of modern culture were studied;

The significance of the creative achievements of jazz musicians is substantiated, an original diagram-table of the creative activity of leading jazz pianists, who determined the development of the main trends of jazz in the 1930s and 1940s, was compiled.

Main provisions submitted for defense

1. Jazz in the cultural space of the 20th century developed in two directions. The first developed within the commercial entertainment industry, within which jazz still exists today; the second direction - how independent art, independent from commercial popular music. These two directions made it possible to determine the path of development of jazz from a mass culture phenomenon to an elite art.

2. In the first half of the 20th century, jazz became part of the interests of almost all social strata of society. In the 30-40s, jazz finally established itself as one of the most important components of urban culture.

3. Consideration of jazz as a specific subculture is based on the presence of special terminology, features of stage costumes, styles of clothing, shoes, accessories, design of jazz posters, gramophone record sleeves, and the uniqueness of verbal and non-verbal communication in jazz.

4. Jazz of the 1930s-1940s had a serious impact on the work of artists, writers, playwrights, poets and on the formation of the musical language of modern culture, including everyday and festive. On the basis of jazz, the birth and development of jazz dance, tap dance, musicals, and new forms of the film industry took place.

5. The 30-40s of the 20th century are the time of the birth of new styles of jazz music: stride, swing and bebop. The complication of harmonic language, technical techniques, arrangements, and the improvement of performing skills leads to the evolution of jazz and influences the development of jazz art in subsequent decades.

6. The role of performing skills and the personalities of pianists in the stylistic changes of jazz and the consistent change of jazz styles of the period under study is very significant: stride - J.P. Johnson, L. Smith, F. Waller, swing - A. Tatum, T. Wilson, J. . Stacy to bebop - T. Monk, B. Powell, E. Haig.

Theoretical and practical significance of the research

The materials of the dissertation research and the results obtained allow us to expand knowledge about the development of artistic culture of the 20th century. The work traces the transition from mass spectacular dance performances in front of a crowd of thousands to elite music that can sound to several dozen people, remaining successful and complete. The section devoted to the characteristics of the stylistic features of stride, swing and bebop allows us to consider the whole range of new comparative and analytical works about jazz performers by decades and by stage-by-stage movement towards the music and culture of our time.

The results of the dissertation research can be used in teaching university courses “history of culture”, “jazz aesthetics”, “outstanding performers in jazz”.

The work was tested in reports at interuniversity and international scientific conferences “ Contemporary issues cultural studies" (St. Petersburg, April 2007), at the Bavarian Academy of Music (Marktoberdorf, October 2007), "Paradigms of culture of the 21st century in the research of young scientists" (St. Petersburg, April 2008), at the Bavarian Academy of Music ( . Marktoberdorf, October 2008). The dissertation materials were used by the author when teaching the course “Outstanding Performers in Jazz” at the Department of Variety Musical Art of St. Petersburg State University of Culture and Culture. The text of the dissertation was discussed at meetings of the Department of Musical Art of Variety and the Department of Theory and History of Culture of St. Petersburg State University of Culture and Culture.

Conclusion of the dissertation on the topic "Theory and History of Culture", Kornev, Petr Kazimirovich

Conclusion

Jazz music, having overcome all racial and social barriers, acquired a mass character by the end of the 20s and became an integral part of urban culture. In the period of the 30-40s, in connection with the development of new styles and movements, jazz evolves and acquires the features elite art, which continues to happen practically throughout the 20th century.

Today all jazz movements and styles are alive: traditional jazz, large orchestras, boogie-woogie, stride, swing, bebop (neo-bop), feauge, latin, jazz-rock. However, the foundations of these trends were laid at the beginning of the 20th century.

As a result of the study, we came to the conclusion that jazz is not only a certain style in the art of music, the world of jazz has given rise to social phenomena - subcultures in which a special world has been formed with its own values, style and lifestyle, behavior, preferences in clothes and shoes . The world of jazz lives by its own laws, where certain figures of speech are accepted, specific slang is used, where musicians are given original nicknames, which later receive the status of a name that is published on posters and records. The very manner of performance and behavior of musicians on stage is changing. The atmosphere in the hall among the listeners also becomes more relaxed. Thus, each movement of jazz, for example, stride, swing, bebop, gave birth to its own subculture.

In the study, special attention was paid to the study of the work of jazz musicians who influenced the development of both jazz music itself and other arts. If previously researchers turned to creativity famous performers and musicians, then this dissertation research specifically studied the work of little-known pianists (D. Guarnieri, M. Buckner, D. Stacy, K. Thornhill, JI. Tristano), showing the significant role of their work in the formation of movements and styles of modern jazz.

Particular attention in the study is paid to the interpenetration and mutual influence of jazz and other arts, such as academic music, literature, the art of jazz posters and envelope design, photography, and cinema. The symbiosis of dance and jazz led to the emergence of step, jazz dance, and influenced the dance art of the 20th century. Jazz was the basis of new forms in art - musicals, film musicals, musical film, film revue, show programs.

Jazz of the first decades of the 20th century was actively introduced into other types of art (painting, literature, academic music, choreography) and into all spheres social life. The influence of jazz has not escaped:

Academic music. “The Child and the Enchantment” by M. Ravel, his piano concertos, “The Creation of the World” by D. Milhaud, “The History of a Soldier”, “Ragtime for Eleven Instruments” by I. Stravinsky, “Johnny Plays” by E. Kschenek, music by C. Weill for productions B. Brecht's influence of jazz is evident in all these works.

Literature. So in 1938, Dorothy Baker's novel about jazz, Young Man With a Horn, was published. The works of poets and writers of the Harlem Renaissance era were filled with active, seething, creative passions, revealing new authors. One of the later works about jazz is Jack Kerwalk's novel On the Road, written in the spirit of cool jazz. The strongest influence of jazz manifested itself among black writers. L. Hughes's poetic works are reminiscent of the lyrics of blues songs. Jazz poster art and record sleeve design evolved along with the music. New musical art and new painting were introduced into culture, because often an abstract stylized image of the composition of musicians or the work of a modern artist was placed on the front of the envelope.

Photography, because a huge amount of information about jazz is stored in the world photo archive: portraits, moments of playing, audience reactions, musicians off stage.

The cinema where it all began on October 6, 1927 with the release of the first musical sound film, The Jazz Singer. And then, in the 30s, films were released with the participation of blues singer B. Smith, the orchestras of F. Henderson, D. Ellington, B. Goodman, D. Krupa, T. Dorsey, C. Calloway and many others. During the war years (in the 40s), the big bands of G. Miller and D. Dorsey were involved in filming films to raise the morale of military personnel. dances that are inseparable in creative co-development with jazz, especially in the period of the 30-^S. In the mid-1930s, the term “jazz dance” referred to various types of dances to swing music. The artists revealed the wide possibilities of stage dance, demonstrating acrobatic figures and shuffling (or tap dancing). The period of the 1930s-1940s, called the “Golden Age of Tap,” introduced audiences to a whole galaxy of talented jazz dancers. The popularity of tap dance is growing significantly, and the dance is moving to movie screens. A new generation of tap dancers grew up on Bopper rhythms. The choreographic image of jazz gradually emerged. The masters of tap dancing, with their refined artistry and brilliant professionalism, educated and instilled taste in the audience. Dance groups plasticity, acrobatics and innovative discoveries formed the future choreography, closely related to jazz, which fit perfectly into the energetic swing.

Jazz is an integral part of modern culture and can be conventionally imagined as consisting of different levels. The topmost is the musical art of true jazz and its creations, hybrid jazz and derivatives of commercial music created under the influence of jazz. This new musical art organically fit into the mosaic panel of culture, influencing other forms of art. A separate level is occupied by the “creators of jazz” - composers, instrumentalists, vocalists, arrangers and fans and connoisseurs of this art. There are well-established connections and relationships between them, which are based on musical creativity, searches, and achievements. The internal connections of performers playing in ensembles, orchestras, and combos are based on subtle mutual understanding, unity of rhythm and feelings. Jazz is a way of life. We consider the “lower” level of the jazz world to be its special subculture, hidden in the complex relationships between musicians and the “near-jazz” public. Various forms of the conventional “lower” level of this art either belong entirely to jazz, or are part of fashionable youth subcultures (hipsters, zutis, Teddy boys, Caribbean style, etc.). The rather narrow privileged “class” of jazz musicians, however, is international brotherhood, a community of people united by the same aesthetics of jazz music and communication.

Concluding the above, we conclude that jazz evolved during the 20th century, leaving its mark on the entire cultural space.

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Introduce students to 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 performers of jazz music and highlight the means of musical expression characteristic of jazz: syncopated rhythm, predominance of wind and percussion musical instruments. Explain the meaning of the concepts “symphonic jazz” and consolidate the concepts “blues”, “ragtime”, “spiritual”.

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

Goals and objectives:

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

2) to form students’ ideas about jazz culture;

3) teach a culture of listening;

4) learn to express your own thoughts regarding musical form, sounds and figurative content musical works;

5) explain the meaning of the concepts of “symphonic jazz” and consolidate the concepts of “jazz”, “blues”, “ragtime”, “spirituals”;

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

5) cultivate the aesthetic taste of students;

Methods and forms of work:

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

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

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

During the classes:

1.Org. moment

Epigraph:

Jazz is about enjoying freedom of expression.

D. Ellington.

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

J. Gershwin.

If you don't tap your foot 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 think about music together now, guys.

Life moves, takes its course, and music does not stand still - it develops with time. Undoubtedly, Music is an important part of any person’s life. One of the first questions asked when meeting people is: “What kind of music do you listen to?” Indeed, the most typical division for our generation and yours is the division according to musical preferences. What role does music play in your life?

(Students' answers)

Music accompanies a person throughout his life.

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

(Listening and identifying modern styles in music)

3.Main stage (slide No. 2)

Teacher: Today I didn’t come to class alone. There is a mysterious gentleman with me, whose name we do not know. Who is he, where did he come to us from? What is his character? This is still a mystery to us. But I propose to define 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 based on various characteristics (genre) AND

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

The fourth letter is a singer - a soloist performing the chorus. Z

(started singing)

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

So here we go...( slide number 3)

“If you don’t tap 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 X-factor show: Yakov Golovko)

Listening to Louis Armstrong's "Go down mice"

Jazz was born in the southern United States at the beginning of the 20th century and spread throughout 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, many blacks lived, former slaves from plantations.

Question: Do you think life was difficult for blacks at that time? (Beecher Stone "Uncle Tom's Cabin")

- (slide number 5)

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

Small orchestras jazz bands they 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 joy, the crowd tied one truck or cart to another - the vanquished dragged the winners. This is the kind of street education our jazz received in childhood.

(slide number 6)

The word "jazz", originally "jazz-band", began to be used 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 (composed of trumpet, clarinet, trombone, banjo, tuba or double bass, drums and piano(Note the tools)

The tomboy from the street grew up, and at the age of 15 he left hometown(what?) look at people and show yourself. And besides, the time has come to think about making money.(slide number 7) Most of the work turned out to be in two American cities - Chicago and New York. He liked the work - entertaining the public with music and dancing in clubs and entertainment venues.

This is how the early youth of our Jazz passed...

And a few years later Jazz already had world fame. Jazz traveled throughout America and Europe. And I managed to make true friends everywhere. Talented people in different countries they didn’t just imitate Jazz, but did it in their own way.

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

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

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

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

1) Spirituals (finger snaps)

2) Blues

3) Ragtime

Working in terminology dictionaries(slide number 8)

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

Blues - an American Negro folk song with a sad, mournful tone. ( slide number 9 ) (listening to blues music)

The blues entered world culture simultaneously with early jazz, and, as it seemed in those years, in inextricable connection with it. Firstly, what is the blues in general? These are secular lyrical songs blacks who lived along the Mississippi River. These were solo songs accompanied by banjo or guitar. In their vital content, the blues are not at all similar to the sublime, mournful, full of faith, suffering and protest spiritual choral chants. In the blues, melancholy is combined with cheerful despair and disbelief. The Negro poet Hughes wrote: “The blues have always impressed me as infinitely sad music. Much sadder than a spiritual. That's because in the blues, sorrow is not softened by tears,but on the contrary, she is embittered by laughter, the contradictory laughter of grief, which is born when there is no faith on which to rely».

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

Ragtime – dance music of a special, rhythmic nature.(slide number 10)

Ragtime was music designed 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?

(Students' answers)

The essence of the matter is that the piano was the most widespread, the most “homey” instrument available in the performing sense in America of that era.(listening to ragtime music)

Jazz has matured. 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 temperament, but now he was seen as too calm, sometimes even cold. And sometimes he was somehow twitchy and nervous. And he no longer shunned noble society - they began to see him in the Philharmonic and Opera House. (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 Conservatory Orchestra”)

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

Teacher : To consolidate the material, I offer tests.

Let's try to draw psychological picture Jazz:

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

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

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

You encountered 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. (Slide No. 6)

The composer was born in a poor area of New York - Brooklyn and over time more than once called himself “a product of Brooklyn blacks.”

Why is he so famous?

After all, 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 European techniques symphonic music. It was unexpected, unusual and attracted attention all over the world.

This is how a style of music emerged, called “symphonic jazz”.

Maybe you can try to decipher this word yourself?

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

Listening to an excerpt from Porgy and the 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 rolled into one, but a special type of artist. He creates a piece of music in collaboration with his ensemble partners, so improvisation is the art of play, dialogue, and multilateral communication in the language of music.

Rhythm

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

The role of rhythm in jazz this is the main thing. Existence is rhythm. – groups are fundamentally for jazz. The very inspired sense of rhythm that a jazz artist invariably demonstrates can delight the public.

Jazz is the same age as the 20th century and one of its biggest celebrities. It is already over 100 years old. By human standards, he is 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.

Now let's try to create an image of Jazz using musical colors. To do this, we need to select tools that are characteristic only of it.

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

Conclusion: the favorite instruments of Jazz are: trumpet, trombone, clarinet, piano, double bass, saxophone, guitar, drums - 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 by Isidor Beilin (born in 1888), a native of Russia, who at the age of 14 ended up with his parents in the USA and became one of the most famous composers of American popular music throughout the world.

The song “The best in the world is jazz” - analysis, performance.

(the song with the lyrics is on each student’s desk)

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 allow them to be enjoyed.

Reflection:

To summarize, let's try to remember everything that was discussed in this lesson.

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

2. What styles of jazz did you hear today? (ragtime, blues).

3. American composer XX century.

4. Composing music while performing it.

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

Homework

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

Analysis of students' activity level, assessment of knowledge.

Giving grades for work in class in student journals and diaries.

Mr. Jazz says goodbye to you. Until we meet again, young connoisseurs art!

The children leave the classroom to the music.

Abstract on the topic
“Jazz is a phenomenon of black music in the culture of the USA and Europe in the first half of the 20th century”

Performed:
Checked:

Sevastopol 2012

Introduction………………………………………………………………………...3

Conclusion…………………………………………………………….14
References……………………………………………………………15

Introduction
Jazz is the king of improvisation in the world of musical styles. Folklore also belongs to the methods of improvisation, but its isolation and focus on preserving traditions limits it in terms of musical means. Jazz is a hymn to creativity, and in combination with bold improvisations, it becomes the starting point for the formation of a huge number of branches. The music of black slaves brought to America began its victorious march across Europe and gave the world many complex works for orchestra in the blues style, boogie-woogie, ragtime, etc. The influence of jazz extends to almost all types of modern music - from academic to popular . Many composers and performers of various styles and movements draw their inspiration from jazz, which is practically inexhaustible for new ideas.

Chapter 1. Development of jazz in the first half of the 20th century

A creative surge in many forms of art “welcomed” the approach of the 20th century. Instrumental jazz originated in the depths of Negro songwriting, but the end of the outgoing 19th century was marked by a symbiosis of the incendiary, vibrant cake walk dance and music that was unusually suitable for it - the first ragtimes. Meanwhile, both in painting and in classical music, which had a longer history and experience, everything developed unexpectedly and revolutionary. All types of art are beginning to free themselves from the shackling classical canons.
In 1874 in Paris, a group of young innovative artists organized an exhibition. The exhibited works used a special technique of separate strokes, halftones, and colored shadows that conveyed the impermanence and fleetingness of impressions. The new direction in art was called “impressionism”, and its most prominent representatives - Claude Monet, Pierre-Auguste Renoir, Camille Pizarro, Edgar Degas, Alfred Sisley and Paul Cezanne - were called “impressionists”. The works of the Dutchman Vincent Van Gogh, Oskar Kokoschka (Austria), Edvard Munch (Norway) paved the way for “expressionism”. Soon new trends began to appear in sculpture, literature, architecture and music. But there was also feedback. The departure from the classical laws of harmony was associated with the name of the French composer Claude Debussy, about whom the music world started talking in the 90s of the 19th century. The works of Claude Debussy and Maurice Ravel conveyed subtle, airy, devoid of specifics feelings and carried the aesthetics of impressionism. Other composers also developed this direction and experimented with rhythm - Arnold Schoenberg, Igor Stravinsky, Bela Bartok. Sculptors in their works of the early 20th century, like painters, sought to move away from the concrete to the abstract (Constantin Brancusi, Henry Moore). The aesthetics of modernist architecture, which Frank Lloyd Wright (1869-1959) implemented in his buildings, was based on the style of “organic architecture”, complete unity with the surrounding landscape.
Like everything new, jazz during its growth period was mobile and communicative, influencing other forms of art and absorbing any creative impulses. Many works of art from the early 20th century are infused with jazz. We can feel these “jazz” moods in painting - lines, contours, play of colors (for example, the work of P. Picasso is reflected in the compositions of D. Ellington; cubism and abstract art are “in tune” with the works of T. Monk, C. Mingus, O. Colman); in literature - the rhythm of E. Hemingway’s phrases “pushes” one to comprehend the bebop style, the luxury and richness of F. S. Fitzgerald’s phrases form a single whole with the music of the “Golden Age” of jazz - swing. A whole cohort of European and American composers is emerging, contemporaries of the development of jazz, inclined to search for a new language and techniques. Jazz indirectly influences through academic music (for example, C. Debussy) and classical ballet. The emergence of new plastic arts and movements is “pushed” by the hidden connection of these arts (in the work of Vaslav Nijinsky - “The Afternoon of a Faun”). Jazz motifs also appear in costumes based on Lev Bakst’s sketches - in lines, color combinations; in the first jazz posters, advertising and design of new sheet music. The surrealism of S. Dali, R. Magritte and H. Mirro, as well as the languid sounds and lyrics of the blues, are implicated in subconscious sex motivation, which was proclaimed to the whole world in his studies of the beginning of the 20th century by the psychoanalyst and scientist Z. Freud. The emergence of jazz and the emergence of “Freudianism” surprisingly coincide in time.
The first steps of jazz were characterized by eccentricity, frivolity, and dance character. Jazz music quickly spread in different countries and became widespread. Thus, jazz in the first decades became a product for wide consumption. And it turned out that jazz is the phenomenon that was so lacking for the fullness of life.
Throughout the 20-30s of the 20th century, jazz became a world favorite, a “child”, a manifestation of mass culture. Representatives of all social strata were fans of jazz music, and this allows us to consider jazz as a phenomenon with signs of universality. This music becomes an integral part of the artistic life of society along with academic, chamber, folk music, and ballet.
The tastes of the masses subsequently dictated the specifics (mass participation, dance character, external attributes, style of behavior) of the development and expansion of the jazz repertoire. Thus, in the 30s, fast dances were popular, and orchestras competed in the fiery performances of the same melodies. Or the other extreme - tired dancers needed to play something calmer; for this case, the big band's repertoire included ballads - slow pieces in which the vocalist most often performed solo. There were also many orchestras playing salon-sweet music - “sweet-bands”. A huge number of these bands have sunk into obscurity. This was a real phenomenon of mass culture in the 30s and 40s.
The secret of the success of jazz is in its extraordinary pulse, the brightness of the sound, the composition of the instruments, the changing role of each of them, and the new style of the leading vocalists. The impact of a large orchestra on the viewer is amazing not only by the quality of the musical material, but also unusual location musicians on stage. Most often this is a semicircle and the viewer feels at the epicenter of attention and sound tension, where all the artists of the jazz orchestra work for the audience. This is facilitated by the special poses of the artists. The “drawn” movements of the bells of wind instruments are staged - the wings of the trombones sway from side to side synchronously with the rhythm, the trumpeters raise their instruments to the sky, the saxophonists combine various turns and “steps”, the pianist gesticulates and smiles, the double bass player plays deliberately demonstratively, and the drummer, sitting “above all” the orchestra members, he works miracles of rhythm and sometimes juggling.
The established mass, dance character of jazz music pushed businessmen from the entertainment business to create an entire jazz industry. Based on successful and proven samples (hits), their “twins” were created and replicated: melodies, songs, tunes, arranged in rhythmic patterns. It was a cliché of the jazz repertoire. The period from the late 20s to the early 40s is a kind of record for the duration of interest in jazz music, not only for America, but also for European countries. This was facilitated by a successful combination of the following factors, the presence of a kind of “chain”: orchestras (performing “link”) - dancers (active “link” of consumers) - gramophone records (a “link” that greatly increases the number of fans - a huge number of stores sold records all over the world) - radio broadcasts (a “link” that disseminates jazz music instantly and over any distance, expanding the audience of listeners as technical improvements) - advertising (this “link” was widely used and involved talented designers in the art of creating posters and posters). This record for the duration of interest will only be broken by rock music of the 60s and 90s.
In the period of the 30-40s, among hundreds of orchestras, leaders and arrangers of big bands stood out, who were looking for their own path, trying to get rid of the commercial doom of the repertoire. These orchestras dropped out of the list of dance big bands (for example, D. Ellington). Even the “king” of swing of the late 30s, B. Goodman, noted in his memoirs that playing in a large orchestra did not bring the creative satisfaction that was achieved in playing with a small ensemble. Playing with a large orchestra meant “playing for dancing.” Considering the activities of large orchestras throughout the 30-40s, it is necessary to note its main directions: playing in huge dance halls; performances in large clubs with a stage and appropriate equipment and decorations; work in small cafes and restaurants, where it was difficult to accommodate an orchestra; concerts in prestigious halls, philharmonic societies; touring America and going on tour to European countries.
Interest in jazz arose in Europe as a result of the first visits by American jazzmen to the Old World. The performances in Paris of Louis Mitchell's ensemble "Jazz Kings" (1917 - 1925) were impressive (Valentin Parnach, who organized the first jazz concert in Moscow). In 1919, Will Marion Cook's Southern Syncopated Orchestra brought clarinetist Sidney Bechet to Europe. In the 20-30s, numerous orchestras and ensembles came on tour to Europe. The Europeans themselves tried to diligently copy their idols from the USA, initially focusing on white ensembles, and later on black performers. Of great importance was the opening in Paris in 1932 of the Hot Club de France, a jazz center headed by Hugues Panacier. The famous quintet with the participation of French violinist Stephane Grappelli and gypsy guitarist Django Reinhardt arose in this club. It should be noted that Reinhardt was practically the first jazz European noticed in the homeland of jazz: Django was invited to perform together with the Duke Ellington Orchestra. It is curious that the violin in the jazz-European context played important role. Thus, violinist Svend Asmussen became the leading jazz musician in Denmark.
In Russia, both the orchestra genre and small ensembles developed, and the names of Alexander Tsfasman, Alexander Varlamov, and Leonid Utesov arose.
During the war, the possibility of developing a line of jazz in Europe was interrupted.

Researchers are still arguing about the exact time of the emergence and first performance of jazz. One hypothesis states that jazz arose from the emotional spiritual music that was characteristic of blacks who converted to the Protestant faith in the northern United States. Another hypothesis claims that jazz owes its birth to the distinctive culture of the African-American South, which remained practically untouched due to the conservative Catholic views of the Europeans living here, who despised the black customs alien to them. In a word, there are enough theories, but they all agree that the birth of jazz took place in the USA, and New Orleans, inhabited by free-thinking adventurers, received the title of the center of jazz music. It was in New Orleans that the first jazz record was released - a recording made in the Victor studio by the Original Dixieland Jazz Band on February 26, 1917.
Having established its position and right to exist, jazz began to branch into all sorts of movements. Currently, there are more than thirty such “subgenre” trends. Blues is considered one of the most popular. The name comes from the word “blue” - melancholy, melancholy. This word very clearly illustrates the nature of the musical style. In addition, the name is associated with the English phraseology “blue devils” - “devilish melancholy”, when cats scratch their souls. Blues is leisurely and unhurried, it is characterized by smoothness and improvisation. The lyrics of blues songs are ambiguous; they almost always contain unsaid thoughts. Currently blues songs are not widely used; instrumental works are mainly used, usually in jazz improvisations. The most famous blues performers - Louis Armstrong and Duke Ellington - had a tremendous influence not only on American musical culture, but also on world music in general. TO modern representatives blues can be attributed, for example, to the Hot Rod Band. Ragtime is another specific direction of jazz. It appeared at the end of the 19th century, and its name translates as “torn time.” The word "rag" means intervals in beats. Ragtime became one of the fashionable European musical hobbies, remade by African Americans in a new way. At that time, romantic romance was especially popular. piano school, whose repertoire included works by Chopin, Schubert and Liszt. Their compositions had previously been performed in the United States, but when interpreted by African Americans, they took on different qualities - a special rhythm and dynamism. Subsequently, ragtime began to be recorded in musical notation; in addition, it benefited from the fact that an indicator of high family status at that time was the presence of a piano in the house, especially a mechanical one, on which playing complex ragtime melodies was more convenient. The most popular cities in terms of spreading ragtime were Kansas City, St. Louis and Sedalia (Missouri), as well as the state of Texas. Scott Joplin, one of the most famous composers and performers of ragtime, comes from Texas. His performances at the Maple Leaf club were a great success. Joseph Lamb and James Scott also became remarkable authors and performers of this style.
The economic crisis of the early 30s in the United States led to the collapse of most ensembles, including jazz ones. Only orchestras playing pseudo-jazz dance music remained in service. A new stage in the development of the jazz direction was swing - a polished, polished, smoothed musical and dance genre (in English the word “swing” means “swing”). The word "jazz" was considered jargon at the time, so there was an attempt to introduce a new concept instead - "swing". The main feature of swing is bright solo improvisation and complex accompaniment.
All swing performers had to be distinguished by unsurpassed technique, harmony and knowledge of musical organizational principles. Large big bands or orchestras, which became popular in the second half of the 1930s, were mainly suitable for such performances. Gradually, a standard form for the orchestra composition was formed - 10-20 people.
Another specific branch of jazz that came to life during the era of the spread of swing is piano form performance of blues works, later called “boogie-woogie”. This trend first appeared in Kansas City, spread through St. Louis and reached Chicago. Boogie-woogie was actually a performance of music for banjo and guitar arranged by pianists. It was piano boogie-woogie that led to the emergence of the “walking” bass played by the left hand, while the right hand was given over to blues improvisation. Pianist Jimmy Yancey played a special role in popularizing the style. However, boogie-woogie reached its peak of success after the appearance of Lewis, Johnson and Ammons before the general public. Thanks to them, boogie-woogie became concert music from dance music. Subsequently, boogie-woogie motifs were actively used by swing orchestras, as well as by authors and performers in the genre of rhythm and blues. The current had a significant impact on the birth of rock and roll.

Conclusion

The beginning of the 20th century was marked by the emergence of a new artistic reality in culture. Jazz, one of the most significant and vibrant phenomena of the entire 20th century, influenced not only the development of artistic culture, various types of arts, but also the everyday life of society. As a result of the study, we come to the conclusion that jazz in the cultural space of the 20th century developed in two directions. The first developed within the commercial entertainment industry, within which jazz still exists today; the second direction is as an independent art, independent of commercial popular music. These two directions made it possible to determine the path of development of jazz from a mass culture phenomenon to an elite art.
Jazz music, having overcome all racial and social barriers, acquired a mass character by the end of the 20s and became an integral part of urban culture. In the period of the 30-40s, in connection with the development of new styles and movements, jazz evolved and acquired the features of an elite art, which practically continued throughout the 20th century.
Today all jazz movements and styles are alive: traditional jazz, large orchestras, boogie-woogie, stride, swing, bebop (neo-bop), feauge, latin, jazz-rock. However, the foundations of these trends were laid at the beginning of the 20th century.
etc.................

Jazz is a form of musical art that arose at the beginning of the 20th century in the USA as a result of the synthesis of African and European cultures and subsequently became widespread.

Jazz is amazing music, alive, constantly evolving, incorporating the rhythmic genius of Africa, the treasures of the thousand-year-old art of drumming, ritual and ceremonial chants. Add choral and solo singing of Baptist and Protestant churches - opposite things merged together, giving the world amazing art! The history of jazz is unusual, dynamic, filled with amazing events that influenced the world musical process.

What is jazz?

Character traits:

polyrhythm based on syncopated rhythms,
bit - regular pulsation,
swing - deviation from the beat, a set of techniques for performing rhythmic texture,
improvisation,
colorful harmonic and timbre range.

This type of music emerged in the early twentieth century as a result of the synthesis of African and European cultures as an art based on improvisation combined with a preconceived, but not necessarily written, form of composition. Several performers can improvise at the same time, even if a solo voice is clearly heard in the ensemble. The completed artistic image of a work depends on the interaction of the ensemble members with each other and with the audience.

Further development of the new musical direction occurred due to the mastery of new rhythmic and harmonic models by composers.

In addition to the special expressive role of rhythm, other features of African music were inherited - the interpretation of all instruments as percussion, rhythmic; predominance of conversational intonations in singing, imitation colloquial speech when playing guitar, piano, percussion instruments.

The history of jazz

The origins of jazz lie in the traditions of African music. The peoples of the African continent can be considered its founders. Brought to New World Slaves from Africa did not come from the same family and often did not understand each other. The need for interaction and communication led to unification and the creation of a single culture, including music. It is characterized by complex rhythms, dances with stamping and clapping. Together with blues motifs, they gave a new musical direction.

The processes of mixing African musical culture and European, which has undergone major changes, have occurred since the eighteenth century, and in the nineteenth led to the emergence of a new musical direction. Therefore, the world history of jazz is inseparable from the history of American jazz.

History of jazz development

The history of the birth of jazz originates in New Orleans, in the American South. This stage is characterized by collective improvisation of several versions of the same melody by a trumpeter (main voice), clarinetist and trombonist against the backdrop of marching accompaniment of brass bass and drums. A significant day - February 26, 1917 - then in the New York studio of the Victor company, five white musicians from New Orleans recorded the first gramophone record. Before the release of this record, jazz remained a marginal phenomenon, musical folklore, and after that, in a few weeks it stunned and shocked all of America. The recording belonged to the legendary "Original Dixieland Jazz Band". This is how American jazz began its proud march around the world.

In the 20s, the main features of future styles were found: a uniform pulsation of the double bass and drums, which contributed to swing, virtuoso soloing, a manner of vocal improvisation without words using individual syllables ("scat"). Blues took a significant place. Later, both stages - New Orleans, Chicago - are united by the term "Dixieland".

In American jazz of the 20s, a harmonious system emerged, called “swing”. Swing is characterized by the emergence of a new type of orchestra - the big band. With the increase in the orchestra, we had to abandon collective improvisation and move on to performing arrangements recorded on sheet music. The arrangement became one of the first manifestations of the composer's beginnings.

A big band consists of three groups of instruments - sections, each of which can sound like one polyphonic instrument: a saxophone section (later with clarinets), a "brass" section (trumpets and trombones), a rhythm section (piano, guitar, double bass, drums).

Solo improvisation based on the “square” (“chorus”) appeared. “Square” is one variation, equal in duration (number of bars) to the theme, performed against the background of the same chord accompaniment as the main theme, to which the improviser adjusts new melodic turns.

In the 1930s, American blues became popular and the 32-bar song form became widespread. In swing, the “riff”—a two- to four-bar rhythmically flexible cue—has begun to be widely used. It is performed by the orchestra while the soloist improvises.

Among the first big bands were orchestras led by famous jazz musicians - Fletcher Henderson, Count Basie, Benny Goodman, Glen Miller, Duke Ellington. The latter already in the 40s turned to large cyclic forms based on Negro and Latin American folklore.

American jazz in the 1930s became commercialized. Therefore, among lovers and connoisseurs of the history of the origin of jazz, a movement arose for the revival of earlier, authentic styles. The decisive role was played by small black ensembles of the 40s, which discarded everything designed for external effect: variety, dancing, singing. The theme was played in unison and was almost not heard in original form, the accompaniment no longer required dance regularity.

This style, which ushered in the modern era, was called "bop" or "bebop". Experiments of talented American musicians and jazz performers - Charlie Parker, Dizzy Gillespie, Thelonious Monk and others - actually laid the foundation for the development of an independent art form, only externally related to the pop-dance genre.

From the late 40s to the mid-60s, development took place in two directions. The first included the styles "cool" - "cool", and "west coast" - “ West Coast" They are characterized by a wide use of the experience of classical and modern serious music - developed concert forms, polyphony. The second direction included the styles of “hardbop” - “hot”, “energetic” and close to it “soul-jazz” (translated from English “soul” - “soul”), combining the principles of old bebop with the traditions of black folklore, temperamental rhythms and intonations spirituals.

Both of these directions have much in common in the desire to free themselves from the division of improvisation into separate squares, as well as to swing waltz and more complex meters.

Attempts were made to create works of large form - symphonic jazz. For example, “Rhapsody in Blue” by J. Gershwin, a number of works by I.F. Stravinsky. Since the mid-50s. experiments to combine the principles of jazz and modern music have again become widespread, already under the name “third movement”, also among Russian performers (“Concerto for orchestra” by A.Ya. Eshpai, works by M.M. Kazhlaev, 2nd concert for piano with the orchestra of R.K. Shchedrin, 1st symphony by A.G. In general, the history of the emergence of jazz is rich in experiments and is closely intertwined with the development of classical music and its innovative directions.

Since the beginning of the 60s. active experiments begin with spontaneous improvisation, not even limited to a specific theme song- Freejazz. However, the mode principle is even more important: each time a series of sounds is selected anew - a mode, and not clearly distinguishable squares. In search of such modes, musicians turn to the cultures of Asia, Africa, Europe, etc. In the 70s. come electric instruments and the rhythms of youth rock music, based on smaller beats than before. This style is first called "fusion", i.e. "alloy".

In short, the history of jazz is a story about search, unity, bold experiments, and ardent love for music.

Russian musicians and music lovers are certainly curious about the history of the emergence of jazz in the Soviet Union.

In the pre-war period, jazz in our country developed within pop orchestras. In 1929, Leonid Utesov organized a pop orchestra and called his group “Tea-jazz”. The “Dixieland” and “swing” styles were practiced in the orchestras of A.V. Varlamova, N.G. Minha, A.N. Tsfasman and others. Since the mid-50s. Small amateur groups begin to develop ("Eight TsDRI", "Leningrad Dixieland"). Many prominent performers received a start in life there.

In the 70s, training began in the pop departments of music schools, publishing teaching aids, sheet music, records.

Since 1973, pianist L.A. Chizhik began performing at “jazz improvisation evenings.” Ensembles led by I. Bril, “Arsenal”, “Allegro”, “Kadans” (Moscow), and the quintet D.S. perform regularly. Goloshchekin (Leningrad), groups of V. Ganelin and V. Chekasin (Vilnius), R. Raubishko (Riga), L. Vintskevich (Kursk), L. Saarsalu (Tallinn), A. Lyubchenko (Dnepropetrovsk), M. Yuldybaeva (Ufa ), orchestra O.L. Lundstrem, teams of K.A. Orbelyan, A.A. Kroll ("Contemporary").

Jazz in the modern world

Today's world of music is diverse, dynamically developing, and new styles are emerging. In order to freely navigate it and understand the processes taking place, you need knowledge of at least brief history jazz! Today we are witnessing the mixing of an increasing number of world cultures, constantly bringing us closer to what, in essence, is already becoming “world music” (world music). Today's jazz incorporates sounds and traditions from almost every corner globe. African culture, with which it all began, is also being rethought. European experimentalism with classical overtones continues to influence the music of young pioneers such as Ken Vandermark, an avant-garde saxophonist known for his work with such notable contemporaries as saxophonists Mats Gustafsson, Evan Parker and Peter Brotzmann. Other young musicians of a more traditional orientation who continue to search for their own identity include pianists Jackie Terrasson, Benny Green and Braid Meldoa, saxophonists Joshua Redman and David Sanchez and drummers Jeff Watts and Billy Stewart. The old tradition of sound continues and is actively maintained by artists such as trumpeter Wynton Marsalis, who works with a team of assistants, plays in his own small groups and leads the Lincoln Center Orchestra. Under his patronage, pianists Marcus Roberts and Eric Reed, saxophonist Wes "Warmdaddy" Anderson, trumpeter Marcus Printup and vibraphonist Stefan Harris grew into great masters.

Bassist Dave Holland is also a great discoverer of young talent. His many discoveries include saxophonists Steve Coleman, Steve Wilson, vibraphonist Steve Nelson and drummer Billy Kilson.

Other great mentors to young talent include legendary pianist Chick Corea and the late drummer Elvin Jones and singer Betty Carter. Potential Opportunities further development this music is currently great and varied. For example, saxophonist Chris Potter releases a mainstream release under his own name and at the same time participates in recordings with another great avant-garde drummer Paul Motian.

We still have to enjoy hundreds of wonderful concerts and bold experiments, witness the emergence of new directions and styles - this story has not yet been written to the end!

We offer training at our music school:

piano lessons - a variety of works from classics to modern pop music, visuals. Available to everyone!
guitar for children and teenagers - attentive teachers and exciting lessons!