Jazz as a phenomenon of American culture. Jazz: what is (definition), history of appearance, birthplace of jazz

As a manuscript

KORNEV Petr Kazimirovich Jazz in the cultural space of the 20th century

24.00.01 - theory and history of culture

St. Petersburg 2009

The work was performed at the Department of Variety Musical Art of the St. Petersburg State University of Culture and Arts.

Scientific adviser -

Doctor of Cultural Studies, and. O. Professor E. L. Rybakov

I. A. Bogdanov, Doctor of Art History, Professor

I. I. Travin, Candidate of Philosophy, Associate Professor

Official opponents:

Leading organization -

St. Petersburg State University

The defense will take place on June 16, 2009 at 14:00 at a meeting of the dissertation council D 210.019.01 at the St. Petersburg State University of Culture and Arts at the address:

191186, St. Petersburg, Dvortsovaya embankment, 2.

The dissertation can be found in the library of the St. Petersburg State University of Culture and Arts.

Scientific secretary of the dissertation council, Doctor of Cultural Studies, Professor

V. D. Leleko

In numerous reference and encyclopedic publications, in critical literature about jazz, two stages are traditionally distinguished: the swing era (late 20s - early 40s) and the formation of modern jazz (mid 40s - 50s), and also provides biographical information about each 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 30-40s. 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.

The degree of development of the problem. To date, a certain tradition has developed in the study of cultural musical heritage, including

looking for the style of jazz music of the period under review. The basis of the research was 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 prospects for the development of culture, V. P. Bolshakov on the meaning of culture, its development, cultural values, V. D. Leleko, dedicated to the aesthetics and culture of everyday life, the works of S. T. Makhlina on art criticism 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 analyzes the 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 new musical art in world culture.

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 of foreign authors special attention deserve I. Wasserberg, T. Lehmann, 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 are devoted to the problems of jazz improvisation and the evolution of the harmonic language of jazz, which were published in last third XX century. 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 style in jazz music (O. N. Kovalenko), the phenomenon of improvisation in jazz (D. R. Livshits), the influence of jazz on the professional composition of Western Europe in the 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. Niki-

Tina. The problems of style formation 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.

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

The subject of the study is the specificity and sociocultural significance of jazz of the 3rd (M0s of the 20th 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.

Introduce the concept of jazz subculture into scientific circulation; determine the 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 30-40s of the 20th century;

the following methods: integrative, which involves the use of materials and research results of a complex of humanities disciplines; 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 originality of jazz of the 30-40s is determined, the features of piano jazz (stride, swing, bebop), innovations of performers that influenced the formation of the musical language of modern culture are 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 1930-1940s, was compiled.

Work structure. The study consists of an introduction, two chapters, six paragraphs, a conclusion, an appendix, and a bibliography.

The “Introduction” substantiates the relevance of the chosen topic, the degree of development of the topic, defines the object, subject, purpose and objectives of the study; theoretical foundations and research methods; Scientific novelty was identified, theoretical and practical significance was determined, and information on testing the work was provided.

The first chapter, “The Art of Jazz: From Mass to Elite,” consists of three paragraphs.

The new musical art developed in two directions: in line with the entertainment industry, within which it is still being improved today; and as an art form in its own right, independent of commercial popular music. Jazz of the second half of the 40s of the XX century, manifesting itself as an elite art, had a number of important features, including: the individuality of norms, principles and forms of behavior of members of the elite community, thereby becoming unique; the use of subjective, individual and creative interpretation of the familiar; the creation of deliberately complicated cultural semantics, requiring special training from the listener. The problem of culture is not its bifurcation into “mass” and “elite”, but their relationship. Today, when jazz has practically become an elite art, elements of jazz music can also appear in products of international mass culture.

The first paragraph, “The Development of Jazz in the First Half of the 20th Century,” examines the cultural world of the early 20th century, in which new artistic directions and movements emerged. Originated in late XIX centuries, impressionism in painting, avant-gardeism in music, modernism in architecture and new music won the sympathy of the public.

The following shows the creation of cultural and musical traditions by settlers from the Old World and Africa, which laid the foundation for the history of jazz. European influence was reflected in the use of the harmonic system, notation system, set of instruments used, and the introduction of compositional forms. New Orleans is becoming a city where jazz is born and developed, facilitated by porous cultural borders that provide many opportunities for multicultural exchange. Since the end of the 18th century, there was a tradition according to which, on weekends and on religious holidays, slaves and free people of all colors flocked to Congo Square, where Africans danced and created unprecedented music. The establishment of jazz was also facilitated by: a viable musical culture, uniting the townspeople's love for operatic arias, French salon songs, Italian, German, Mexican and Cuban melodies; passion for dancing, since dance was the most accessible and widespread entertainment without racial boundaries and classes; cultivating a pleasant prepro-

driving time: dancing, cabarets, sports meetings, excursions and everywhere jazz was present as an integral participant; the dominance of brass bands, in which participation gradually became the prerogative of black musicians, and pieces performed at weddings, funerals or dances contributed to the formation of the future jazz repertoire.

Further in the paragraph, critical and research works of European and American authors published in the period of the 30-40s are analyzed. Many of the authors’ conclusions and observations remain relevant today. The role of the piano is emphasized as an instrument that, due to its vast capabilities, “attracted” the most versatile musicians. During this period: swing orchestras were gaining strength (late 20s) - the “golden era” of swing began (30s - early 40s), and by the mid-40s. - the era of swing is on the decline; until the end of the 30s, gramophone records of outstanding pianists were published: T. F. Waller, D. R. Morton, D. P. Johnson, W. L. Smith and other masters of the “stride-piano” style, new names appeared; D. Yancey, M. L. Lewis, A. Ammons, P. Johnson - a galaxy of pianists-performers successfully popularize “boogie-woogie”. Undoubtedly, the performers of the late 30s and early 40s. concentrate in their art all the achievements of the swing era, and individual musicians provide ideas to a new galaxy of performers."Expanding the limits of use of each instrument and increasing the complexity of performance acquires sophistication, sophistication of the overall sound, and a higher-level performance technique is being developed. A serious step in the development of jazz, the popularization of the best performers the series of concerts "Jazz at the Philharmonic" or "JATP" for short was born. In 1944, this idea was invented and successfully implemented by jazz impresario Norman Granz. Music, which until recently served as a "support" for dancing, moves into the category of concert music and is needed " be able to "listen. Here we again see the emergence of features of an elite culture.

In the second paragraph “Features jazz culture"examines the formation of jazz, discussed by theorists and researchers. Jazz has been called both “primitive” and “barbaric.” The paragraph explores different points of view on the origins of jazz. The culture of the black people has adopted a form of self-expression that has become part of everyday life in American life.

The peculiarities of jazz include the original nature of the sound of instruments. Common music for dances and parades appeared, in which each instrument had its own “voice.” The ensemble's "weaving" of melodic lines of instruments was later called "New Orleans music" after its birthplace. The first and most important instrument in jazz is the human voice. Each extraordinary vocalist creates a personal style. Drums and percussion originate from “African” music, however, jazz playing of these instruments differs from the traditions of “African” performance. The new features of jazz drums are surprise, childishness, and seriousness.

comic spirit, effects - stops, sudden silence, return to rhythm. Jazz drums are ultimately an ensemble instrument. Other instruments of the rhythm section - banjo, guitar, piano and double bass - make extensive use of two roles: individual and ensemble. The trumpet (cornet) has been a leading instrument since the days of the New Orleans “marching” bands. To others important tool there was a trombone. The clarinet was the “virtuoso” instrument of New Orleans music. The saxophone, which figured only slightly in New Orleans music, gained recognition and popularity in the era of large orchestras. The role of the piano in the history of music is enormous. In jazz, three approaches to the sound of this instrument have been found. The first is built on excellent sonority, percussive intensity, and the use of loud dissonances; the second approach is also “percussive” piano, but with an emphasis on pure intervals; and the third is the use of continued notes and chords. Outstanding performers of ragtime and plays in this style were professionally trained pianists (D. R. Morton, L. Hardin). They brought a lot from world musical culture to jazz. New Orleans jazz took many forms because music served many social and civic roles in the city's culture. From ragtime instrumental jazz received a virtuosity that was lacking in folk blues. The demeanor of the performers was sharply different from the restrained, classical one - shouting, singing, and pretentious clothing became integral features of early jazz performers. Much of what is in the music of today had its origins in New Orleans music. This music gave the world such creative musicians as J. C. Oliver, D. R. Morton, L. Armstrong. The spread of jazz was facilitated by the closing of Storyville, part of New Orleans, in 1917. The movement of jazz musicians to the North allowed this music to become the property of all of America: blacks and whites, East and West coasts. Jazz music not only had a strong impact on popular and commercial music, but also acquired the features of a complex artistic and musical art, becoming an integral part of modern culture.

The new music included everything called jazz, including its various interpretations. According to the English researcher F. Newton, the music that average Americans and Europeans listened to from 1917 to 1935 can be called hybrid jazz. And it accounted for approximately 97% of the music that was listened to under the label of jazz. Jazz performers sought to achieve a more serious attitude towards their work. Thanks to the fashion for everything American, hybrid jazz spread everywhere at warp speed. And after the crisis of 1929-1935, jazz regained its popularity. Concurrent with the trend toward seriousness in new music, pop music adopted almost entirely Negro instrumental techniques and arrangements, using the name "swing." The internationality and mass character of jazz gave it a commercial character. However, jazz was

There was a powerful spirit of professional rivalry that forced us to look for new ways. Throughout its history, jazz has proven that authentic music in the 20th century can avoid the loss of artistic qualities by establishing contact with the public. Jazz has developed its own language and traditions.

The third paragraph, “Jazz Subculture,” examines the existence of jazz in society.

Social changes in the lives of Americans begin to manifest themselves by the early 30s. They successfully combine diligent work with evening relaxation. These changes led to the development of new institutions - dance halls, cabarets, formal restaurants, night clubs. In the disreputable areas of New York, in the bohemian habitats of San Francisco (Bary Coast) and the black ghettos, informal entertainment establishments have always existed. Nightclubs grew out of these first dance halls and cabarets. The clubs that proliferated after the First World War most closely resembled music halls. The development of clubs and the spread of jazz was also helped by the ban on drinking alcoholic beverages in the United States, which lasted from. 1920 to 1933. These saloons for the illegal sale of alcohol (in English - “speakeasies”) were equipped with huge bars, many mirrors, large rooms filled with tables. The growth of the popularity of “speakeasies” was facilitated by good cuisine, a dance floor and a musical performance. Many of the visitors to these establishments considered jazz an excellent addition to such “relaxation”. After the lifting of the ban, many clubs with jazz music were opened throughout the decade (from 1933 to 1943). This was already a new successful type of urban cultural institutions. The popularity of jazz underwent changes in the second half of the forties and jazz clubs (according to economic reasons) have become a convenient platform for recording concerts, and for combining with other forms of entertainment. And the fact that modern jazz was a music to be heard rather than danced also changed the atmosphere of the clubs. Of course, the main American “club” centers of the 1930s and 40s were New Orleans, New York, Chicago, and Los Angeles.

“Leaving” New Orleans in 1917, jazz became the property of all of America: North and South, East and West Coast. The world route that jazz followed, winning more and more new fans, was approximately as follows: New Orleans and areas near the city (1910s); all cities in Missi-

sipi, where ships with musicians on board called (1910s); Chicago, New York, Kansas City, West Coast cities (1910-1920s); England, Old World (1920-1930s), Russia (1920s).

The paragraph provides a detailed description of the cities in which the development of jazz took place most intensively. The subsequent development of jazz had a huge impact on the entire festive city culture. Simultaneously with this broad, all-embracing, official movement of new music, there was another, not entirely legal, path that also shaped interest in jazz. Jazz artists worked for the “army” of bootleggers, playing in establishments, sometimes all day long, while honing their skills. Jazz music in these nightclubs and saloons unwittingly served as an attractive force in these establishments, where visitors were clandestinely introduced to alcohol. Of course, this gave rise to a trail of ambiguous associations surrounding the word “jazz” for many years later. The very first clubs mentioned in the history of jazz include the New Orleans clubs “Masonic Hall”, “The Funky Butt Hall”, in these clubs the legendary trumpeter B. Bolden played, “Artisan Hall”, in “The Few-clothes Cabaret”, opened in 1902, speakers F. Keppard, D. C. Oliver, B. Dodds. The Cadillac Club opened in 1914, The Bienville Roof Gardens opened on the roof of the Bienville Hotel (1922), the largest nightclub in the South, The Gypsy Tea Room, opened in 1933, and finally , New Orleans' most famous Dixieland club is The Famous Door. By the 1890s, an early piano style, ragtime, had emerged in the city of St. Louis and its surrounding area, the performance of which was part of home music playing and work for musicians. After 1917, Chicago became one of the city centers of jazz, where the “New Orleans” style continued, which later became known as “Chicago.” Since the twenties, Chicago has become one of the important centers of jazz. In his clubs "Pekin Inn" "Athenia Cafe" "Lincoln Gardens" "Dreamland Ballroom" "Sunset Cafe" "Apex Club" D.K. Oliver, L. Armstrong, E. Hines played, Big -bands of F. Henderson, B. Goodman. A. Tatum loved to perform in the small club “Swing Room”.

In the East, in Philadelphia, the local piano style, based on ragtime and gospel shout, was contemporary with the styles of New Orleans pianists (early 20th century). This music also sounds everywhere, giving a fundamentally new flavor to urban culture. In Los Angeles, in 1915, local musicians discovered New Orleans jazz and tried their hand at collective improvisation, thanks to the tour of F. Keppard's orchestra. Already in the 20s, more than 40% of the black population of Los Angeles was concentrated in a few blocks on both sides of Central Avenue from 11th to 42nd streets. Business establishments, restaurants, social clubs, residences and nightclubs were also concentrated here. One of the first and famous clubs was The Cadillac Cafe. In 1917, D. R. Morton already performed there. The Club Alabama, later renamed the Apex Club, was founded by drummer and bandleader K. Mosby in the early 20s.

Dov, and in the 30s and 40s the club still continued active jazz activities. A little further away was the Down Beat Club, where the first be-bop artists performed. West Coast: X. McGee band, C. Mingus and B. Catlett ensemble “Swing Stars”. C. Parker played at The Casa Blanca club. Although Central Avenue was still the jazz "soul" of Los Angeles, clubs in other areas also played important role. The Hollywood Swing Club was one of those places. Both swing bands and bebop performers played here: L. Young, the B. Carter Orchestra, D. Gillespie and C. Parker performed until the mid-40s. In 1949, The Lighthouse Cafe opened. This club was later glorified by the stars of the “kul” movement. Another popular West Coast club was "The Halg": R. Norvo, J. Mulligan, L. Almeida, B. Shank played here.

The jazz musical styles that emerged in these cities added a special flavor to the atmosphere of urban culture. By the 1930s, jazz was filling free time citizens both “from below” (from drinking establishments) and “from above” (from huge dance halls), becomes part of urban culture and joins mass culture against the backdrop of urbanization. Jazz of this period became the iconic system that was equally accessible to almost all members of society. This paragraph identifies the range of use of verbal terms and non-verbal symbols and signs, gives the concept and defines the criteria and characteristics of the jazz subculture. The world of jazz “gave birth” to subcultures, each of which forms a special world with its own hierarchy of values, style and lifestyle, symbols and slang.

This paragraph reveals the typological characteristics of various subcultures: slang, jargon, behavior, preferences in clothing and shoes, etc.

The subculture that gives preference to stride music uses the phrases “after hours” (after work), “professor”, “tickler”, “star” (star). The behavior of pianists on stage has changed - from a serious, classical, conservative, sometimes prim manner; performers of dance (ragtime) and New Orleans music have gone to the opposite - the art of entertaining the public (entertainment). Stride performers, called "professors" or "ticklers", staged entire performances from their performances, starting with the appearance in front of the audience and the performance. This was grotesque, acting, the ability to present oneself to the public. Special details of the appearance included: a long coat, a hat, a white scarf, a luxurious suit, patent leather boots, a diamond tie pin and cufflinks. The appearance was complemented by a massive cane with a gold or silver knob (the cane was a “storage” for cognac or whiskey). Stride was a good accompaniment to solo or partner dance - tap or tap. By the mid-30s, more and more performers of this type of jazz dance appeared.

The subculture of fans of the swing style uses the following words and expressions in their speech: “jazzman”, “the king”,

“great” (played great), “blues” (blues), “chorus” (square). The orchestra members on stage demonstrated rehearsed movements, rhythmically swinging the bells of trombones and saxophones, and raising the trumpets upward. The performers were dressed in nice, smart suits or tuxedos, matching ties or bow ties, and inspector shoes. Swing was “accompanied” by a black woman youth subculture“zooties”, whose name comes from the clothing “Zoot Suit” - long jacket striped and skinny trousers. Negro musicians, like the Zutis, artificially straightened their hair and mercilessly pomaded it. Singer and dandy C. Calloway demonstrates this style in the film Stormy Weather (1943). A significant part of the youth public became fans of swing: white college students created the fashion for swing. The swing crowd was mostly dancing. But it was also music for the ear. It was during this period that the custom arose among swing fans to listen by surrounding the stage on which jazz orchestras were playing, which later became an integral part of all jazz events. Based on different attitudes towards music and dancing in the swing era, the following arose: a subculture of “alligators” - this was the name of that part of the public who loved to stand at the stage and listen to the band; subculture “jitterbugs” - part of the public, dancers who have followed an aggressive, extreme path of self-expression. The era of swing coincides with the Golden Age of tap. The best dancers are being filmed.

Musicians and fans of the bebop style use other words and expressions: “dig” (dig, dig), “ye, man” (yes, guy), “session” (recording, session), “cookin"” (cooking, kitchen ), "jamming", boxing terms, "cats" (cats - an address to musicians), "cool" (cool). The musicians demonstrate "protest" behavior - no bows, smiles, "cooling" of relations with the "audience". In clothing, a denial of sameness (seriality) has appeared, reaching the point of negligence. Black glasses, berets, caps are becoming fashionable, goatees are growing. The health and psyche-destroying addiction to drugs is becoming fashionable. Jazz musicians - drugs, an ill-fated life chain is being built. The transience of change leads to a feeling of fragility, creates a mood of uncertainty and instability. There is a lack of mental comfort, positive emotions from communication, the need for contemplation. Many talented and bright figures get lost or “burn out”, leaving the professional jazz “path” prematurely.

Modern jazz was able to be understood and appreciated by trained audiences. Part of this elite public had already been formed. These were “hipsters,” a special social stratum. This phenomenon was the focus of researchers and the press in the 40s and 50s. English journalist and writer F. Newton writes: “The hipster is a phenomenon of the new generation of northern blacks. Its development was closely intertwined with the history of modern jazz.”

Unfortunately, unified, obscene expressions are becoming fashionable and standard, and they are often inappropriately sprinkled with them in any everyday conversation of musicians, which is scarce in normal words. This scum

the wicked and flawed language contrasts so strikingly with that beautiful music, which these people create, that the thought involuntarily creeps in that the speech image is a contrived image and “put on” by musicians for the sake of the disgusting fashion of being like others, moving in the world of jazz. The world of jazz has another feature - giving nicknames (or nicknames) to musicians. These nicknames, “implanted” into the performer, become the second, and more often the main name of the artist. New names exist not only in oral addresses, they are assigned to musicians on records, at concert performances, on TV. When talking about any jazz performer, we habitually pronounce his nickname, which appeared over time in his creative life. Here are some examples of names and nicknames of musicians whose work we consider in our work: Edward Kennedy Ellington - “Duke”, Thomas Waller - “Fats”, William Basie - “Count” "), Willie Smith - "Lion" ("Lion"), Ferdinand Joseph La Mente Morton - "Jelly-Roll" ("Jelly Roll"), Earl Powell - "Bud", Joe Turner - "Big Joe" (" Big Joe"), Earl Hines - "Fatha" ("Daddy") - pianists; Roland Bernard Berigan (trumpet) - "Bunny", Charles Bolden (trumpet) - "Buddy", John Burks Gil-lespie (trumpet) - "Dizzy", Warren Dodds (drums) - "Baby" , Kenny Clark (drums) - “Klook”, Joseph Oliver (cornet) - “King”, Charlie Christophe Parker (alto saxophone) - “Bird”, William Webb (drums) - "Chick", Wilbor Clayton (trumpet) - "Buck", Joe Nanton (trombone) - "Tricky Sam" . The tradition of nicknames is closely connected with the history of jazz and originates from the first blues performers. The “renaming” of artists continues to live on in the next decades.

The second chapter, “The dynamics of the development of jazz in the artistic culture of the 20th century,” consists of three paragraphs.

The first paragraph, “Historical change of styles (stride, swing, bebop),” examines the transition period of the 30-40s in the history of jazz. Stride's development was based on ragtime. This style - energetic, filled with a pulse - was in tune with the emergence of an increasing number of mechanisms and various devices (cars, airplanes, telephones) changing people's lives, and reflected the new rhythm of the city, like other types of modern art (painting, sculpture, choreography). Pianistic performance of this period was varied: playing in Dixieland compositions, in large orchestras, solo playing (stride, blues, boogie-woogie), participation in the first trios (piano, double bass, guitar or drums). New York pianists back in the 1920s became pioneers of the “Harlem Stride Piano” style, the “striding” left hand of which came from ragtime. The best performers imbued their playing with the most dazzling effects. Stride can be roughly divided into “early” and “late”. One of the pioneers of early stry-da is New York pianist and composer D. P. Johnson (James Price Johnson)

combined ragtime, blues and all forms of popular music in his performing style, using the “paraphrase” technique in his playing. The “late” stride was dominated by T. F. Waller (Thomas “Fats” Waller), a continuator of Johnson’s ideas, but concentrating his playing on composition rather than improvisation. It was the playing of T. F. Waller that pushed the development of the swing style. In his compositional work, T. F. Waller relied more on popular music than on ragtime or early jazz.

By the 1930s, the “boogie-woogie” style also became extremely popular. The most bright performers there was Jimmy Yancey, Lucky Roberts, Mead Lucky Lewis, Albert Ammons. During these years, the entertainment business, dancers, radio listeners, collectors, and professionals were united by the music of large orchestras. Against the backdrop of a huge number of big bands, the “star” orchestras sparkled. This is F. Henderson's orchestra, whose repertoire was based on rag, blues and stomp, and B. Goodman's orchestra. Goodman's name was synonymous with "swing". The pianists of his orchestra also contributed to this level: D. Stacy, T. Williams. The outstanding big bands of the swing era also included: the C. Calloway Orchestra, the A. Shaw Orchestra, the Jimmy and Tommy Dorsey Orchestra, the L. Milinder Orchestra, the B. Eckstine Orchestra, the C. Webb Orchestra, the D. Ellington Orchestra, the C. Basie Orchestra .

In the mid-40s, a galaxy of young musicians appeared who started playing in a new way. It was "modern jazz" or "be-bop". “Revolutionary” youth brought a different understanding of harmony, a new logic for constructing phrases, and new rhythmic figures. The new style is starting to lose its entertainment value. It was a turn towards the seriousness, closeness and elitism of jazz.

One of the founders of bebop was Thelonious Monk. He, together with other performers of this style, developed a new harmonic system. Another pianist, Bud Powell, studied Monk's voicing and combined it with Parker's melodic approach in his playing. Rhythm is a key element in bebop. Bebop musicians played with a “light swing feel.” The musical language of bebop is filled with characteristic melodic figures consisting of phrases, movements and decorations. The theory of modes that bebop performers began to use is something new in jazz. These musicians' repertoire included blues themes, popular standards and original compositions. Standards serve as key material for bebop musicians.

The second paragraph, “Outstanding jazz musicians of the first half of the 20th century,” introduces portraits of outstanding musicians of the period of the 30s and their contribution to culture. One of the pioneering figures in transforming the sound of the large orchestra is Claude Thomhill. Pianist, arranger and big band leader, one of the creators of “cool” jazz. The most important figure among bebop pianists was Bud Powell (“Bad” Earl Rudolph Powell). This pianist, under the influence of C. Parker, successfully applied the findings and discoveries of this saxophonist in piano playing. Music-

B. Powell's skill was also based on his predecessors - A. Tatum, T. Wilson and the work of the great J. S. Bach. The most original pianist of this period, the innovator Thelonious Sphere Monk created a unique style. Monk's melodies were usually angular, with unusual rhythmic and harmonic bends. T. Monk was outstanding composer. He created miniature compositional structures that are comparable to any classical works. Among the first bop pianists was Al Haig (Alan Warren Haig). In the second half of the 40s, he played a lot with the creators of bebop, C. Parker and D. Gillespie. E. Haig played an important role in the development of modern jazz piano playing. Another musician Elmo Hope (St. Elmo Sylvester Nore) at the beginning of his creative path was influenced by Bud Powell's playing. Louis Stein began his creative biography in the military orchestra of G. Miller. An eclectic pianist with a touch of touch, he became a studio musician in the late 40s. Pianist and arranger Tadley Ewing Peake Dameron was one of the first significant composers of bebop, combining swing and orchestral beauty. Duke Jordan (“Duke” Irving Sidney Jordan) began his pianistic career playing in swing orchestras, and in the mid-40s he moved to the “bopper camp.” A lyrical, inventive musician, he is also known as a prolific composer. Creative, active pianist Hank Henry Jones was stylistically influenced by E. Hines, F. Waller, T. Wilson, A. Tatum. H. Jones had an exquisite “touché” and “weaved” unusually flexible melodic lines in his playing. Another performer is Dodo Marmarosa (Michael "Dodo" Marmarosa), who played in the early and mid-40s famous orchestras: J. Krupa, T. Dorsey and A. Shaw.

Summing up the work of the most significant pianists of the three styles (stride, swing and bebop), it is necessary to separately note the creative discoveries and contributions to the musical culture of a special number of musicians. One of the first in this series was certainly Art Tatum (Artthur Jr. Tatum), the brightest “star” of classical jazz piano. He combined the emerging swing style with the most virtuosic elements of stride. Pianist Nathaniel Adams "King" Cole recorded some superb trios (piano, guitar, double bass) in the 1940s; the black virtuoso pianist Oscar Emmanuel Peterson, who grew up in the traditions of stride, developed this style, complementing it with an elastic, biting phrase; self-taught pianist Erroll Louis Garner appears in New York in 1944, and soon conquers the jazz Olympus, shining with his unique style of playing chords; white, blind English musician George Albert Shearing, inspired by the style of F. Waller and T. Wilson, achieved fame on the jazz scene when he moved to New York in 1947. The last three of the above-mentioned performers brought the viewer an incredible joyful charge of energy coming from familiar songs and music.

lodies refracted by these pianists through the prism of the individual manner of each of them. At the end of the 40s, the bright star of young Dave Brubeck (David Warren Brubeck), who studied composition under the direction of D. Milhaud and music theory with A. Schoenberg, rose. Pianist D. Brubeck plays in an expressive and “attacking” style, has a powerful touch, experiments with harmony and in the combination of meters, an original subtle melodist.

The third paragraph examines “Interpenetration and mutual influence of jazz and other forms of art.”

The first decades of the 20th century are characterized by the introduction of jazz music into other forms of art (painting, literature, academic music, choreography) and into all spheres of social life. Thus, the Russian ballerina Anna Pavlova in 1910 in San Francisco was delighted with the “Turkey Trot” dance performed by black dancers. The great artist had a burning desire to embody something similar in Russian ballet. New music in its depths formed the creators of new directions of jazz, capable of isolating it as an art filled with deep intelligence, denying its accessibility. Cultural avant-gardists hailed jazz as the music of the future. The air of the “jazz era” was especially close to the artists. American writers who created a number of their works to the “sounds” of jazz are Ernest Hemingway, Francis Scott Fitzgerald, Dos Passos, Gertrude Stein, poet Ezra Pound, Thomas Stearns Eliot. Jazz has created at least two types of literature - blues poetry and autobiography in short story form. Fashion writers, literary critics, and journalists published in jazz reviews for urban intellectuals.

In their statements about jazz, E. Ansermet and D. Milhaud demonstrated a breadth of views. The longest list of works of art created under the influence of jazz are works by academic composers: “The Child and Enchantment” and piano concertos by M. Ravel, “The Creation of the World” by D. Milhaud, “The History of a Soldier”, “Ragtime for Eleven Instruments” by I. Stravinsky, “Johnny Plays” by E. Kshenek, music by K. Weill for productions by B. Brecht. Since the early 1930s, jazz and hybrid jazz, performing applied functions of music (recreation, accompaniment of meetings, dancing), have reworked all popular melodies and songs from musicals, Broadway productions, shows and even some classical themes.

Dorothy Baker's jazz novel Young Man With a Horn was published in 1938. This work was reprinted many times and its plot formed the basis of the film of the same name. The works of poets and writers of the “Harlem Renaissance” era were filled with uncontrollable, seething, creative passions, who revealed new authors: Kl. МакКэя (новелла «Банджо»), К. В. Вэчтена («Nigger Heaven» - роман о Гарлеме), У. Турмана («Infants of the Spring», «The Black the Berry»), поэта К. Каллена. In Europe, under the influence of jazz, several works by J. Cocteau were created, the poem “Elegy for Hershel Evans”, “Piano Poem in Prose”.

The writer D. Kerwalk created the novel “On the Road,” written in the spirit of “cool jazz.” The strongest influence of jazz manifested itself among black writers. Thus, the poetic works of JI. Hughes is reminiscent of the lyrics of blues songs.

Jazz musicians also found themselves in the spotlight of fashion. Stage image jazz artists (immaculately dressed “dandies”, pomaded handsome men) were actively introduced into the consciousness, becoming an example to follow, the styles of concert dresses of soloists were copied. Bebop musicians in the mid-40s became revolutionaries in fashion. Their features in the manner of dressing and behavior are instantly adopted by crowds of young fans and the “hipster” caste.

The art of jazz posters developed along with this music. Also, the active sale of records, starting from the 20s, gave rise to the profession of designer of record sleeves (first at 78 rpm, later at 33.3 rpm, - LP "s - short for Long Playing Recordings formed the most important part of the musicians' creativity, along with the nightly concert life. The number of record companies was constantly increasing. The quality of the recordings was improving, the sales of records were growing, jazz fans, collectors, researchers, and critics were interested in them. Sleeve designers competed, finding new, catchy ones , original methods of design. New musical art and new painting, because often on the front of the envelope there was an abstract-stylized image of the composition of musicians or the work of a contemporary artist. Jazz records have always been distinguished by high-level design, and today these works cannot be accused of “benefits” to mass culture or kitsch.

Let's name another art that felt the influence of jazz - photography. Great amount information about jazz is stored in the world's photo archive: portraits, moments of playing, audience reactions, musicians off stage. All this gives us frozen flash-sketches of almost all periods of the formation of jazz. The union of jazz and cinema was also successful. It all started 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. These include story films, concert films, and cartoons with a jazz “sound track”. With their solo acting they voiced cartoons in the 40s, pianists A. Ammons and O. Peterson. During the war years (in the 40s), the big bands of G. Miller and D. Dorsey were involved in filming to raise the morale of military personnel fulfilling their duty to their homeland.

Russian artists showed the wide possibilities of stage dance, demonstrating acrobatic figures and shuffling (or tap dancing). The legendary dancer B. Robinson, choreographer B. Bradley, dance innovators D. Barton, F. Sondos, creating masterpieces on stage, set an excellent example for the dancing masses and encouraged them to copy. In the mid-30s, the term “jazz dance” meant different kinds dancing to swing music. In the beginning, the word "jazz" may have been an adjective, reflecting a certain quality of movement and behavior: lively, improvised, often sensual and with a whimsical rhythm. Jazz dance was originally reduced to a few of the most syncopated popular dances, which arose under the influence of African-American traditions that were characteristic of the South of the United States. The great success of the revue “Shuffle Along” (“Shuffling Alone”), staged on Broadway in 1921, in which only black artists participated, showed the wide possibilities of stage dance and introduced the audience to a whole galaxy of talented jazz dancers. The performers demonstrated both careful “shuffling” of their feet (“Thar Dancing” or tap dancing) and acrobatic dancing. Tap dancing is becoming increasingly popular and many of its key figures are being incorporated into their performances by dancers. The 1930s-1940s are called the “Golden Age of Tap”. The popularity of tap dance is growing significantly, and the dance is moving to movie screens.

At the same time, most of the differences between dance traditions, between music and dance, were erased by the increasing commercialization of big bands and the transformation of this music into show business. After World War II, the new style of bebop was heard not in dance halls, but in nightclubs. The new generation of tap dance masters B. Buffalo, B. Lawrence, T. Hale grew up on boper rhythms. The choreographic image of jazz gradually emerged. The masters of tap dancing (the Nichols brothers, F. Astaire, D. Rogers) educated and instilled taste in the audience with their refined artistry and brilliant professionalism. Negro dance groups, with their plasticity, acrobatics and innovative discoveries, shaped future choreography, closely related to jazz, and which fit perfectly into energetic swing.

The “Conclusion” indicates the path of development of jazz from a phenomenon of mass culture to an elite art, and summarizes the work of pianists from the 30-40s of the 20th century. The results of a study of stride, swing and bebop styles are presented, and the subcultures born of these styles are indicated. Attention is paid to the relationship between jazz and other forms of art - the process of formation of the language of modern culture. Jazz evolves throughout the 20th century

century, leaving its mark on the entire cultural space. The need to continue targeted study of the interaction between jazz music and other forms of art is shown.

1. Jazz piano performance of the 30-40s of the XX century // News of the Russian State Pedagogical University named after. A. I. Herzen: aspir. tetr. : scientific magazine - 2008. - No. 25 (58). - pp. 149-158. -1.25 p.l.

2. To the anniversary of jazz // News of the Russian State Pedagogical University named after. A. I. Herzen: aspir. tetr. : scientific magazine - 2009. -№96.-S. 339-345.- 1 p.l.

3. Jazz as a source of innovation in the art of the 20th century // News of the Russian State Pedagogical University. A. I. Herzen: aspir. tetr.: scientific. magazine - 2009. - No. 99. - P. 334-339. - 0.75 p.l.

In other publications:

4. Meeting of three arts = Meeting of three arts: jazz, art & wine. - St. Petersburg: Type. Radius Print, 2005. - 4 pp.

5. [Meeting of three arts] = Meeting of three arts: jazz, art & wine: dedicated to the 10th meeting of the three arts. - St. Petersburg: Type. Radius Print, 2006. - 1 p.p.

6. Stylistic features in the works of outstanding jazz pianists of the 1930s: solo improvisation and accompaniment: textbook. allowance. St. Petersburg: SPbGUKI, 2007. - 10 pp.

7. Jazz piano traditions of the 30-40s of the XX century // Modern problems of cultural research: scientific materials. conference April 10, 2007: Sat. articles. - St. Petersburg: SPbGUKI, 2007. - 0.5 p.l.

8. About the jazz master class at the Bavarian Academy of Music // Materials of the conference at the Bavarian Academy of Music. - Markt-Oberdorf, 2007. - 0.5 p.l. - On him. language

9. The art of jazz in Russia since the 30s // Materials of the conference at the Bavarian Academy of Music. - Markt-Oberdorf, 2007. - 0.5 p.l. - On him. language

10. Outstanding performers in jazz: course program. - St. Petersburg. : SPbGUKI, 2008. - 1 pp.

11. The influence of the course “outstanding performers in jazz” on the process of forming and expanding a student’s professional interest in the chosen specialty // Paradigms of culture of the XXI century: collection. articles based on the materials of the conference of graduate students and students on April 18-21, 2008. - St. Petersburg: SPbGUKI, 2009. - 0.5 p.l.

Signed for publication on 04/30/2009 191186, St. Petersburg, Dvortsovaya embankment, SPbGUKI. 05/04/2009. Shooting gallery 100. Law 71

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 2009, abstract on cultural studies, Kornev, Petr Kazimirovich

The relevance of research. Throughout the 20th century, jazz caused a huge amount of controversy and discussion in world artistic culture. 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 20th century, jazz became an integral part of world culture, influencing academic music, literature, painting, cinema, choreography, enriching the expressive means of dance and pushing it to the heights of this art. talented performers and choreographers. 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 were laid for styles and movements that became the personification of the musical culture of the 20th-21st centuries, as well as as a turning point in the evolution of jazz from a phenomenon of mass culture to 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 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 lifestyle, which analyze 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 new musical art in world culture.

Research artistic activity The works of M. S. Kagan, Yu. U. Fokht-Babushkin, N. A. Khrenov are devoted to the work. The art of jazz is examined in foreign works L. Fieser, 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. Among the publications of foreign authors, I. Wasserberg, T. Lehmann deserve special attention, in which the history, performers and elements of jazz are discussed 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 the professional composition of Western Europe in the first half of the 20th century (M. V. Matyukhina), jazz as a 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), gives detailed description all historical periods of jazz, styles, trends, the creativity of instrumentalists, vocalists, features of the jazz scene, 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 of the stylistic features of 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.

The theoretical basis of the 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, the following methods were used: integrative, which involves the use of materials and research results of a complex of humanities disciplines; 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, feature 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 network 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;

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 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.

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 were the time of the birth of new styles of jazz music: stride, swing and bebop. Complication of harmonic language, techniques, arrangements, 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 entire complex of new comparative and analytical works about jazz performers by decade and by the 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 “Modern problems of cultural research” (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 Music Academy (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 scientific work dissertation on the topic "Jazz in the cultural space of the 20th century"

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.

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 subsequently 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 the work of famous performers and musicians, then in this dissertation research the work of little-known pianists (D. Guarnieri, M. Buckner, D. Stacy, K. Thornhill, JI. Tristano) is specifically studied, showing the significant role of their creativity in the formation of trends and styles 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 films, film revues, show programs.

Jazz of the first decades of the 20th century was actively introduced into other forms of art (painting, literature, academic music, choreography) and into all spheres of 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 more 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 represented 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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153. The world's best piano arrangements. Miami, Florida, USA: Warner bros. publications, 1991. - 276 p.

154. Thelonious Monk plays standards. Australia: Hal Leonard corporation, 19-.-88 p.

155. Valerio J. Bebop jazz piano / J. Valerio. Australia: Hal Leonard corporation, 2003.-96 p.

156. Valerio J. Stride&swing piano / J. Valerio. - Australia: Hal Leonard corporation, 2003. 96 p.

157. Wasserberger I. Jazzovy slovnik/ I. Wasserberger. Bratislava; Praha: Statnue hudobue vydavatelstvo, 1966. - 375 p.

158. When, Where, Why and How It Happened / London: The Reader's Digest Association Limited, 1993. 448 p.

159. Yes! Jazz pieces for everyone/comp. I. Roganova. St. Petersburg : Union of Artists, 2003. - Vol. 1. - 28 s. : notes ; Vol. 2. - 26 s. : notes

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. Throughout the 20th century, jazz caused a huge amount of controversy and discussion in world artistic culture. For a 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.

By the end of the 40s of the 20th century, jazz became an integral part of world culture, influencing academic music, literature, painting, cinema, choreography, enriching the expressive means of 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.

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. Among the publications of foreign authors, I. Wasserberg, T. Lehmann deserve special attention, in which the history, performers and elements of jazz are discussed 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 the professional composition of Western Europe in the first half of the 20th century (M. V. Matyukhina), jazz as a 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 .