Jazz culture. How does jazz influence a person? What is 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

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 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 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.

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. 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 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, we used

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;

Significance justified creative achievements jazz musicians, an original chart-table was compiled creative activity leading jazz pianists who determined the development of the main trends of jazz in the 1930-1940s.

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 currents. Impressionism in painting, avant-garde in music, modernism in architecture and new music, which emerged at the end of the 19th century, 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 becomes a city in which jazz is born and develops, 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.

The second paragraph, “Features of 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. Another important instrument was the 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 phenomenological stance aims to reveal how jazz is presented to us, exists for us. And, of course, jazz is the music of performers, subordinated to the individuality of the musician. The art of jazz is one of the significant means of educating culture in general and aesthetic culture, in particular. The brightest jazz musicians had the ability to win over the audience and evoke a wide range of positive emotions. These musicians can be classified as a special group of people, characterized by high sociability, since in jazz the spiritual becomes visible, audible and desirable.

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 later long years behind the word “jazz” there is a trail of ambiguous associations. 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 bebop performers of the West Coast performed: the X. McGee band, the ensemble of C. Mingus and B. Catlett “Swing Stars”. C. Parker played at The Casa Blanca club. Although Central Avenue still remained the jazz soul of Los Angeles, clubs in other areas also played an 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 filled the free time of city residents both “from below” (from drinking establishments) and “from above” (from huge dance halls), becoming part of city culture and joining 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 appearance details included: long coat, hat, white scarf, luxurious suit, patent leather boots, 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 the black youth subculture “zooties,” whose name comes from the clothing “Zoot Suit” - a long striped jacket 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 different attitude to music and dancing in the swing era arose: the 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 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 addiction to drugs, which is crushing health and psyche, 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, which are often and inappropriately sprinkled into any everyday conversation of musicians, which is scant in normal words. This scum

the wicked and flawed language contrasts so strikingly with that wonderful 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 prominent performers were Jimmy Yancey, Lucky Roberts, Mid Lake Lewis, and 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 Charles 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 an 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), in the early and mid-40s he played in the most 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 - 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. The stage image of jazz artists (immaculately dressed “dandies”, pomaded handsome men) was actively introduced into consciousness, becoming an example to follow, and the styles of the soloists’ concert dresses 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 were introduced into culture, because often an abstract stylized image of the composition of musicians or the work of a contemporary artist was placed on the front of the envelope. Jazz records have always been distinguished by high-level design and today these works cannot be accused of being “manuals” popular culture or kitsch.

Let's name another art that felt the influence of jazz - photography. A huge amount of 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”. In the 1940s, pianists A. Ammons and O. Peterson scored animated films with their solo playing. 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.

The connection between dance and the art of jazz deserves special attention. Fast dancing, and therefore dance halls, were extremely popular among young people in the 30s and 40s. A fashion arose for spending evenings in large ballrooms, where dance marathons were held. Blacks-

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-1930s, the term “jazz dance” referred to various types of dances 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 several of the most syncopated popular dances that 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 dances. 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 dynamics of culture received impetus for the implementation of a pluralistic model of development. New wave Jazz culture, invading the traditional cultural space, made significant changes, changing the value system. The influence and penetration of jazz into painting, sculpture, literature, and culture led to a constant expansion of the cultural space and the emergence of a fundamentally new cultural synthesis.

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. 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 named after. 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 work 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 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.

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 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 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 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 of the 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), 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 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, 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 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;

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 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. 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 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 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 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 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 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 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, with their 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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146. Morton J. R. The piano rolls / Jelly Roll Morton. Australia: Hal Leonard corporation, 1999. - 72 p.

147. Rediscovered Ellington. USA: Warner Bros. publications, 1999. - 184 p.

148. Spoerri B. Jazz in der Schweiz = Jazz in Switzerland: Geschichte und

149. Geschichten / B. Spoerri. Zurich: Chronos Verl., 2006. - 462 p. + CD-ROM.

150. The Art Tatum collection. Artist transcriptions piano. Australia: Hal Leonard corporation, 1996. - 136 p.

151. The Bud Powell collection. Artist transcriptions piano. Australia: Hal Leonard corporation, 19-. - 96 p.

152. The Teddy Wilson collection. Australia: Hal Leonard corporation, 19-. - 88 p.

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 FIRST. PHILOSOPHICAL AND ARTISTICAL SCIENCE

ASPECTS OF JAZZ AESTHETICS.

1.1. Postmodernism and ecumenism: general and special.

1.2. Synthesis in modern musical style. a) New Age and ambient. b) ethnic fusion, world music and new acoustic music.

1.3. The influence of racial and social components on jazz music.

Conclusions on the first chapter.

CHAPTER TWO. FUNDAMENTAL PROBLEMS OF THE MODERN ARTISTIC LANDSCAPE

JAZZ MUSIC.

2.1. Transforming normativity.

2.2. American jazz: stagnation and the nature of conservatism.

2.3. Jazz as classical music of the 20th century: conventional jazz and new improvised music.

Conclusions on the second chapter.

CHAPTER THREE. FACTOR OF PSYCHOLOGISM AND PERSONALITY

REFLEXIVITY IN THE DEVELOPMENT OF AFRICAN AMERICAN FREE JAZZ

ON THE EXAMPLE OF THE WORK OF JOHN COLTRANE).

3.1. Characteristics of the work of John Coltrane.

3.2. Influence on free jazz subcultures of the sixties.

3.3. Psychologization and altered states of consciousness as a starting point for spontaneous improvisation: new models of perception in 20th century music.

Conclusions on the third chapter.

Introduction of the dissertation (part of the abstract) on the topic "Jazz as a sociocultural phenomenon: the example of American music of the second half of the 20th century"

Conclusion of the dissertation on the topic "Musical Art", Shak, Fedor Mikhailovich

List of references for dissertation research candidate of art history Shak, Fedor Mikhailovich, 2008

Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Jazz is a music phenomenon of the twentieth century

Jazz is a significant part of American musical culture. Having emerged on the basis of folk music and the music of black Americans, jazz turned into a distinctive professional art, exerting a significant influence on the development of modern music.

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

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

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

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

Jazz is primarily a performing art. This word first appeared in 1913 in one of the San Francisco newspapers, in 1915 it became part of the name of T. Brown's jazz orchestra, which performed in Chicago, and in 1917 it appeared on a gramophone record recorded by the famous New Orleans orchestra Original DixieIand Jazz ( Jass) Band.

The origin of the word "jazz" is itself rather unclear. Nevertheless, there is no doubt. That it had a rather vulgar meaning at the time when it began to be applied to this type of music - around 1915. It should be emphasized that initially this name was given to the music by whites, showing their disdain for it.

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

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

The blues is the most important and influential of all African-American idioms for jazz. The blues used in jazz does not necessarily reflect sadness or sadness. This form is a combination of elements from African and European traditions. Blues is sung with melodic spontaneity and high emotion. In the early 20s, and perhaps earlier, blues became not only a vocal, but also an instrumental genre.

Authentic ragtime appeared in the late 1890s. It immediately became popular and was subject to all sorts of simplifications. At its core, ragtime was music to be played on instruments that had a keyboard similar to that of a piano. There is no doubt that the cakewalk dance (originally based on an elegant, stylized parody of the cutesy mannerisms of white southerners) predated ragtime, so there had to be cakewalk music.

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

The performance of plays by one of the first jazz groups - the Original Dixieland Jazz-Band - was recorded on gramophone records in 1917, and in 1923 systematic recording of jazz plays began.

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

However, from the 1920s through the mid-1930s, it was common to apply the word "jazz" indiscriminately to almost all types of music that were influenced by jazz rhythmically, melodically, and tonally.

Symphojazz (eng. simphojazz) is a style variety of jazz combined with light-genre symphonic music. This term was first used in the 1920s by the famous American conductor Paul Whiteman. In most cases it was dance music with a touch of "salon". However, the same Whiteman initiated the creation and first performer of George Gershwin’s famous “Rhapsody in Blue,” where the fusion of jazz and symphonic music turned out to be extremely organic. There were attempts to recreate a similar synthesis in a new quality and at a later time.

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

By the end of the 1930s, “swing” had exhausted itself, turning into a set of formal and technical techniques. Many prominent masters of “swing” are beginning to develop the genres of chamber and concert jazz. Performing in small ensembles, they create a series of plays addressed equally to both the dancing public and a relatively narrow circle of connoisseur listeners. Ellington recorded with his orchestra the suite "Reminiscence in Tempo", which took jazz beyond the three-minute dance number.

The decisive turning point came in the early 40s, when a group of musicians led a new direction of jazz, calling it the onomatopoeic word “bebop.” He laid the foundation for modern jazz (English modern jazz - modern jazz) - this term is usually used to designate the styles and trends of jazz that arose after the dominance of swing. Bebop marked the final break between jazz and the realm of entertainment music. Artistically, he opened the way for the independent development of jazz as one of the branches of modern musical art.

In the 1940s, the most popular orchestra was the Glenn Miller Orchestra. However, the credit for genuine creativity in jazz during these years goes to Duke Ellington, who, according to one critic, produced masterpieces seemingly every week.

At the end of the 40s, the direction of “cool” jazz emerged, characterized by moderate sonority, transparency of colors and the absence of sharp dynamic contrasts. The emergence of this trend is associated with the activities of trumpeter M. Davis. Subsequently, “cool” jazz was practiced mainly by groups working on the west coast of the United States.

In jazz of the 40s and 50s, the harmonic language became more and more chromatic, even “neo-Debussian,” and musicians performed complex popular melodies. At the same time, they continue to express the traditional essence of the blues. And the music retained and expanded the vitality of its rhythmic basis.

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

Since the second half of the twentieth century, the number of very different artistic concepts and styles of performing jazz music has been increasing. A notable contribution to the improvement of the technique of jazz composition was made by the Modern Jazz Quartet ensemble, which synthesized the principles of “bebop”, “cool jazz” and European polyphony of the 17th - 18th centuries. This trend led to the creation of extended plays for mixed orchestras, including academic orchestra players and jazz improvisers. This further deepened the gap between jazz and the field of entertainment music and completely alienated large sections of the public from it.

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

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

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

In the late 60s, a genre of jazz music developed in the United States using traditional rock, under the influence of the black musician Miles Davis and his students, who tried to make their music clearer and more accessible. The boom of "intelligent" rock and the novelty of the style made it extremely popular in the mid-1970s. Later, jazz-rock split into several more specific forms, some of its adherents returned to traditional jazz, some came to outright pop music, and only a few continued to look for ways for a deeper interpenetration of jazz and rock. Modern forms of jazz rock are better known as fusion.

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

The emergence of jazz in Europe in the late 1910s immediately attracted the attention of leading composers. Certain elements of structure, intonation and rhythmic turns and techniques were used in their works by C. Debussy, I. F. Stravinsky, M. Ravel, K. Weil and others.

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

Thus, the history of jazz can be told on the basis of the development of rhythm sections and the relationship of jazz musicians to the trumpet part.

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

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

List of used literature

Jazz / Music Encyclopedia. T. 2. pp. 211-216.

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

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

Troitskaya G. Singer in jazz. For foreign stage tours // Theatre. 1961. No. 12. pp. 184-185.

Williams M. Short story jazz // USA. Economics, politics, ideology. 1974. No. 10. pp. 84-92. No. 11. pp. 107-114.

INTRODUCTION

CHAPTER 1. DEVELOPMENT OF MUSICAL TASTE IN MUSIC LESSONS IN GENERAL EDUCATION SCHOOL

1. Methodological basis for the formation of musical preferences among students
2. Jazz as a direction in world music and its educational potential

CHAPTER 2. METHODOLOGY FOR FORMING THE MUSICAL TASTE OF SCHOOLCHILDREN WITH THE HELP OF JAZZ MUSIC

2.1 Features of organizing a music lesson at school

2.2 Lesson outline

2.3 Lesson analysis

CONCLUSION

LITERATURE

INTRODUCTION

Adolescence is characterized by the desire to grow up, to assert oneself, to find one’s own place in life, and to self-esteem. It is at this age that certain value orientations are formed and artistic and aesthetic preferences are formed, in particular musical tastes and preferences.

Currently, thanks to the development of the music industry, adolescents’ orientations in the field of music are formed mainly under the influence of mass media and communication with peers, which leads to the consumption of musical samples of dubious aesthetic quality, designed for undemanding tastes due to ease of perception (simple melody , dance rhythm, elementary simplicity of harmonic language, similarity of the subject matter of the texts).

In the conditions of the modern sociocultural situation, the characteristic features of which are pragmatism, economic interests that have come to the fore, a crisis of spirituality, and a loss of moral guidelines, a special priority for schools should be caring for the spiritual development of children and adolescents. However, actual school practice testifies to the focus of modern general education primarily on the development of students’ intellectual abilities to the detriment of their spiritual, moral, artistic and aesthetic development.

At the same time, it should be noted that music occupies a leading position in the sphere of leisure and artistic preferences of adolescents. Being an integral part teenage subculture and performing several functions at once (emotional, compensatory, the function of interpersonal communication, self-affirmation, self-determination of the individual), it has a significant impact on the formation of the personal qualities of adolescents, their aesthetic and value orientations. And this potential of musical art should be used by the teacher for educational purposes.

Leading teachers and psychologists, as well as practical teachers, have already spoken about this more than once. Scientific understanding of the issues of education and development of students by means of listening to music originates in Russian pedagogy in the first half of the last century in the works of B.L. Yavorsky, B.V. Asafieva, L.A. Averbukha, N.Ya. Bryusova, A.A. Shenshin and others, continued by such outstanding scientists and teacher-researchers as V.N. Shatskaya, N.L. Grodzenskaya, D.B. Kabalevsky, T.E. Vendrova, V.D. Ostromensky, L.M. Kadtsyn, Yu.B. Aliev, E.B. Abdullin, L.G. Archazhnikova and others, reflected in the works of the most recent years (L.V. Shkolyar, E.D. Kritskaya, M.S. Krasilnikova, L.A. Ezhova, etc.).

The relevance of our research lies in the fact that at the moment, in our opinion, there is an urgent need to make serious changes to the content of music lessons at school. It must, on the one hand, meet the needs of modern teenagers, and on the other hand, have an educational impact on them, contributing to the formation of artistic taste. And jazz music fits perfectly here.

The jazz style, as one of the most stable musical trends of the 20th century, which is in origin folklore creativity that has risen to the level of professional art, occupies an intermediate position in modern musical culture between entertainment and academic music. Thanks to this feature, jazz can be effectively used in the process of musical education, acting as an updating material and a link between the already formed interests of students and those interests that it is desirable to cultivate in the younger generation.

Thus, the object of research in our work is the educational process in a music lesson.

Subject of research: the influence of elements of jazz style on the formation of students' musical taste.

The main goal of our work is to develop theoretical foundations and methods for cultivating an attentive attitude to music and developing the ability to deeply understand the meaning of music based on the introduction of elements of jazz style into the process of musical theoretical teaching in music lessons.

Based on the goal, the following tasks were identified:

Consider the theoretical foundations of teaching music in secondary schools;

Identify the features of jazz as musical style and determine its educational potential;

Monitor how children perceive jazz music in the classroom;

Analyze the effectiveness of such a lesson.

The practical significance of our work lies, in our opinion, in the theoretical and practical justification for the use of jazz music in lessons as one of the means of developing a general artistic culture among adolescents.

CHAPTER 1. DEVELOPMENT OF MUSICAL TASTE IN MUSIC LESSONS IN GENERAL EDUCATION SCHOOL

1.1 Methodological basis for the formation of musical preferences among students

An important role in the development of the personality of adolescents and high school students is played by the relationship between value orientations and musical and aesthetic taste. Probably not one aesthetic category is as “lucky” as “taste”; rarely does anyone not know the sayings and proverbs associated with it: “There is no arguing about taste,” “There are no comrades according to taste.”

The very concept of “Taste” is a relatively young aesthetic category.

Despite all the differences in the views of scientists on the concept of “taste,” what they have in common is that taste is associated with the assessment of a phenomenon. In its meanings it acts as an evaluative category

People's tastes are extremely diverse. Usually, when speaking about taste, they mean this or that person, but in any individual artistic taste the general is always manifested. In turn, common tastes are always determined by the socio-economic conditions of life of a particular person or group of people. The general and the individual are inseparable in a person’s artistic taste.

Artistic taste is a taste that manifests itself in relation to works of art. Music is the most widespread art form in society. Unlike painting and sculpture, music surrounds us everywhere, at home, at work, in fact everywhere.

Therefore, it becomes clear how important music is for the younger generation and for the teacher, as a means of education.

The problems of the formation of musical culture were considered in the scientific works of Yu.B. Aliyeva (formation of musical culture of teenage schoolchildren), A.G. Bolgarsky (forming interest in folk music among teenagers during classes at the VIA), N.V. Guziy (formation of musical and aesthetic culture in the conditions of out-of-school primary music education), Z.K. Kalnichenko (formation of the need for musical self-education among high school students with the help of school discos), L.G. Koval (interaction between teacher and students in the process of forming aesthetic relations through the means of musical art), A.N. Sokhora (the relationship between the musical culture of society and the individual), L.A. Khlebnikova (components of musical culture).

In pedagogy, musical training and education are interpreted as a process of organized assimilation of the basic elements of social experience, transformed into various forms of musical culture. In a study by G.V. Shostak understands musical culture as a complex integrative education, including the ability to navigate various musical genres, styles and directions, knowledge of a musical theoretical and aesthetic nature, high musical taste, the ability to emotionally respond to the content of certain musical works, as well as creative performing skills - singing, playing musical instruments, etc.

According to the activity approach to culture M.S. Kagan, culture, is a projection of human activity (the subject of which can be an individual, group or clan) and includes three modes: the culture of humanity, the culture of a social group, and the culture of the individual. The musical culture of an individual can be considered as a specific subculture of a certain social group. There are two components in it:

• individual musical culture, including musical and aesthetic consciousness, musical knowledge, skills and abilities developed as a result of practical musical activity;
• musical culture of a certain social age group, which includes works of folk and professional musical art used in working with children and various institutions regulating the musical activities of children.

The concept of an age-specific musical subculture can be presented as a unique set of musical values ​​followed by representatives of a given age group. Researchers point to such components as: internal acceptance or rejection of certain genres and types of musical art; direction of musical interests and tastes; children's musical and literary folklore, etc.

The basis of a child’s individual musical culture can be considered his musical and aesthetic consciousness, which is formed in the process of musical activity. Musical-aesthetic consciousness is a component of musical culture, which is a musical activity carried out on an internal ideal plane.

Some aspects of aesthetic consciousness were studied in the pedagogical and psychological aspects of S.N. Belyaeva-Ekzemplyarskaya, N.A. Vetlugina, I.L. Dzerzhinskaya, M. Nilsson, A. Katinene, O.P. Radynova, S.M. Sholomovich et al.

Elements of musical and aesthetic consciousness identified by O.P. Radynova:

• the need for music is the starting point for the formation of a child’s aesthetic attitude towards music; arises early along with the need to communicate with adults in a musical environment rich in positive emotions; develops with the acquisition of musical experience and by the age of 6 a stable interest in music can be formed;
• aesthetic emotions and experiences are the basis of aesthetic perception; combines an emotional and intellectual attitude to music. Developed aesthetic emotions are an indicator of the development of individual musical culture;
• musical taste - the ability to enjoy artistically valuable music; is not innate, it is formed in musical activity;
• music appreciation is a conscious attitude towards one’s musical needs, experiences, attitudes, taste, and reasoning.

Lyudmila Valentinovna Shkolyar, speaking about musical culture as part of the entire spiritual culture, emphasizes that the formation of a child, a schoolchild as a creator, as an artist (and this is the development of spiritual culture) is impossible without the development of fundamental abilities - the art of hearing, the art of seeing, the art of feeling, the art of thinking. The development of the human personality is generally impossible without the harmony of his “individual cosmos” - I see, hear, feel, think, act.

The structure of the concept of “musical culture” is very diverse; many components and parameters of musical development can be identified in it: the level of singing development, skills in perceiving modern music, the level of creative activity, etc. But the development and advancement of children in different aspects of music comprehension still do not add up to musical culture. The components must be generalized, meaningfully express the most essential in it, and become general in relation to the particular. Such a basis can and should be those new formations in the spiritual world of a child that develop due to the refraction of the moral and aesthetic content of music in his thoughts and feelings and which make it possible to find out how much the musical culture of an individual is connected with the entire enormous material and spiritual culture of humanity.

The methodological literature describes the following features of the formation of musical culture in adolescents through music of various genres, which includes jazz:

I. Stage-by-stage, gradualism.

Introducing teenagers to any music should be carried out in three stages:

1) preparatory, involving the use of music samples (in our case, jazz). Samples of mass music can be implemented in various forms of organizing education and leisure time - from lessons to a school disco. It is advisable to supplement the illustration of musical works with information about the given author, performer, ensemble, etc., as well as an analysis (during the lecture) of the historical, aesthetic and social roots and foundations of the emergence, development and functioning of various genres, styles and movements of music.

2) educational (informational and educational), providing for use in music lessons, in extracurricular activities and during school discos and theme evenings, along with attractive examples of more complex works that require higher musical preparedness from the listener. At this stage, it is considered appropriate to conduct thematic conversations about jazz music with the inclusion of complex musical examples in the jazz genre.

3) developmental (active-creative), which involves stimulating students’ interest in traditional and modern jazz, developing in adolescents the skills to independently determine the genres, styles and directions of the works they listen to. At the same time, it is extremely important to uncover the historical, aesthetic and social roots of jazz music (as a sociocultural phenomenon), its relationship with social phenomena experienced by society.

II. Accounting for individual and age characteristics adolescents - the desire for self-expression, self-esteem; dependence on the opinions of peers; increased need for communication and entertainment.

III. Taking into account the interests of teenagers can serve as a stimulating factor in students’ perception of jazz music. At the same time, it is important to conduct disputes and discussions with students about certain phenomena occurring in musical life, radio and television programs, publications in the press, listened to records, CDs and concert programs, which helps to awaken in students the ability to be analytical and critical. and theoretical activities.

This is how the listening culture of teenagers develops. Its content consists of several components:

Music teachers have repeatedly raised the question of the importance of ensuring that every schoolchild can feel confident in the opportunity to comprehend the meaning of music and enter into a spiritual dialogue with it. From our point of view, it is possible to bring students closer to understanding complex musical compositions by developing their experience of ways of comprehending music and identifying the meanings contained in it. Taking into account the uniqueness of each jazz work and each of its perceptions, in the most general terms, the ways of the listener to comprehend a musical work, in our opinion, are: the listener’s awareness of the feeling of the surrounding world that the author shares, the disclosure of the value position conveyed in the music, the awareness of the generalized thought of the work.

Among the variety of existing pedagogical technologies developed in the last few decades, the technology of productive learning seems to us to be the most optimal (A.N. Tubelsky, A.V. Khutorskoy, etc.). It is a personality-oriented pedagogical technology, the main guideline of which is the personal educational growth of the student, consisting of external (idea, version, text) and internal (skills, personal qualities) products of his educational activity. The key positions of productive learning, on which the process of forming the listening musical culture of adolescents in a secondary school can be based, are: creating conditions for cooperation between teacher and students, in which each party acts as an equal bearer of different but necessary experience; taking into account the personal inclinations of schoolchildren; the focus of the educational process on students creating their own subjectively new educational products; ensuring educational reflection. This technology is applicable when studying any musical genre, including jazz.

1.2 Jazz as a direction in world music and its educational potential

Jazz is a unique musical direction that was formed in the USA at the turn of the 19th and 20th centuries and gave impetus to the development of a whole galaxy of different musical genres. From jazz came bebop, rock and roll, rhythm and blues, jazz rock, fusion, and funk. Jazz can be called the great-grandfather of almost all modern musical genres. What is jazz?

The origins of jazz should be sought in the mixture, or, as they say, in the synthesis of European and African musical cultures. Oddly enough, jazz began with Christopher Columbus. Of course, the great discoverer was not the first performer of jazz music. But by opening America to Europeans, Columbus marked the beginning of the interpenetration of European and African musical traditions. You may ask: what does Africa have to do with it? The fact is that, while exploring the American continent, Europeans began to bring black slaves here, transporting them across the Atlantic from the west coast of Africa. Between 1600 and 1700, the number of slaves on the American continent exceeded hundreds of thousands.

The Europeans did not even realize that, together with the slaves transported to the American continent, they brought there African musical culture, which is distinguished by its amazing attention to musical rhythm. In the homeland of Africans, music was an indispensable component of various rituals. Rhythm was of enormous importance here, being the basis of collective dance, collective prayer, in other words, collective ritual. The characteristic features of African folk music are polyrhythm, rhythmic polyphony and cross-rhythm. Melody and harmony here are almost in their infancy. This means that African music is freer and has more room for improvisation. So, together with black slaves, Europeans brought to the American continent what became the rhythmic basis of jazz music.

What is the role of European musical culture in the formation of jazz? Europe introduced melody and harmony, minor and major standards, and a solo melodic principle into jazz.

So, the United States of America became the birthplace of jazz. Jazz historians still argue about where exactly jazz music was first performed. There are two opposing opinions on this matter. Some believe that jazz appeared in the northern United States, where already in the 18th century, English and French Protestant missionaries began to convert blacks to the Christian faith. It was here that a completely special musical genre “spirituals” arose - these are spiritual chants that North American blacks began to perform. The chants were extremely emotional and largely improvisational in nature. Jazz subsequently arose from these chants.

Proponents of another point of view argue that jazz originated in the southern United States, where the vast majority of Europeans were Catholics. They treated Africans and their culture with particular contempt and disdain, which played a positive role in preserving the originality of African musical folklore. The African American musical culture of dark-skinned slaves was rejected by Europeans, which preserved its authenticity. Jazz was formed on the basis of authentic African rhythms.

The director of the New York Institute of Jazz Research, Marshall Stearns - author of the monograph "The History of Jazz" (1956) - showed that the situation is much more complicated. He pointed out that the basis of jazz music is the interpenetration of West African rhythms, work songs, religious chants of American blacks, the blues, African folklore of the past, the musical compositions of itinerant musicians and street brass bands. What do brass bands have to do with it, you ask? After graduation Civil War In the USA, many brass bands were disbanded and their instruments were sold. At sales, wind instruments could be purchased for practically nothing. Many musicians playing wind instruments appeared on the streets. The fact that jazz bands have their traditional set: saxophone, trumpet, clarinet, trombone, double bass is associated with sales of wind instruments. The basis is, of course, the drums.

The city of New Orleans became the center of jazz music in the United States. It was very populated freethinking people, not alien to adventurism. In addition, the city has an advantageous geographical location. These are favorable conditions for the synthesis of musical cultures. Even a special jazz style was formed, which is called New Orleans jazz. On February 26, 1917, the first gramophone record on which jazz music sounded was recorded here in the Victor studio. It was a jazz group called the Original Dixieland Jazz Band. By the way, the musicians of the group were not dark-skinned. These were white Americans.

In subsequent years, jazz turned from a marginal musical direction into a fairly serious musical movement that captured the minds and hearts of the general public on the American continent. The spread of jazz began after the closure of the Storyville entertainment district in New Orleans. But this does not mean that jazz was only a New Orleans phenomenon. The islands of jazz music were St. Louis, Kansas City, and Memphis - the birthplace of ragtime, which had a significant influence on the formation of jazz. It is interesting that many subsequently outstanding jazz musicians and orchestras were ordinary minstrels who participated in special traveling concerts: for example, the famous musician Jelly Roll Morton, the Thom Browne Orchestra, Freddie Keppard's Creole Band. Orchestras gave concerts on ships that sailed along the Mississippi. This certainly contributed to the popularization of jazz music. From such orchestras came the brilliant jazzmen Bix Beiderbake and Jess Stacy. Louis Armstrong's future wife, Lil Hardin, played piano in the jazz orchestra.

In the 20-30s of the last century, the city of Chicago, and then New York, became the center of jazz. This is connected with the names of the great jazz masters Louis Armstrong, Eddie Condon, Jimmy Mac Partland, Art Hodes, Barrett Deems and, of course, Benny Goodman, who did a lot to popularize jazz music. Big bands became the basis of jazz in the 30-40s of the 20th century. The orchestras were led by Duke Ellington, Count Basie, Chick Webb, Benny Goodman, Charlie Barnett, Jimmy Lunsford, Glenn Miller, Woody Herman, Stan Kenton. The “battles of the orchestras” were a stunning spectacle. The orchestra soloists brought the audience into a frenzy with their improvisations. It was exciting. Since then, big bands in jazz have been a tradition. Currently, prominent jazz orchestras include the Jazz of Lincoln Center Orchestra, the Carnegie Hall Jazz Orchestra, the Chicago Jazz Ensemble, and many others.

Why exactly can jazz act as an “educator” of the younger generation, what is its educational potential, its positive impact on the individual? Let's try to understand this issue.

Jazz is a great culture. Africa or America have nothing to do with it, because jazz is a global culture. The phenomenon of “jazz” includes much more than we used to think. You can call the art of style jazz, but this will not be entirely true. Rather, jazz is the art of flawlessly maintaining a given style from beginning to end, and without going into anything more. The boundaries of style are expanded before the vigorous onslaught of jazz; the style itself in jazz becomes individual, creating the appearance of meaningfulness. Jazz is the individuality of the external and the impersonality of the internal. Therefore, “jazz” is not only music; “jazz” is a style of dance, a style of communication, a style of literature and even a style of life.

In Russia, jazz has always had a “special position”: at first it was considered marginal, underground music, and now it has become the music of quite a lot of connoisseurs of this music, but it never became a mass movement. In this regard, jazz has acquired the features of “elitism”, music not for everyone. Therefore, he is not popular among teenagers; little is known about him. But this is a whole era not only in music, but also in public life - the “jazz era”. And this also needs to be taken into account when using this direction in the classroom. Because the very “spirit” of jazz, the spirit of the era when this music was born and popularized, can have a certain emotional impact on teenagers, introducing them to something more that is not in their everyday life. And this will also have a positive educational effect, stimulate the cognitive activity of children, because they will want to learn more about this musical direction, to understand what is hidden behind the melodies of jazz, to understand what is expressed in this music. Music lessons on this topic are intended to help with this.

CHAPTER 2. METHODOLOGY FOR FORMING THE MUSICAL TASTE OF SCHOOLCHILDREN WITH THE HELP OF JAZZ MUSIC

2.1 Features of organizing a music lesson at school

As we have already noted, in modern society music occupies a special, and not the least, place. Even ancient philosophers described the positive therapeutic effect of music on humans. Plato argued that it is a heaven-sent ally in our quest to bring order and harmony to any disharmony of the mind. The followers of Pythagoras developed a method of musical psychotherapy, which included a daily program of songs and musical pieces for the lyre, which gave people vigor in the morning and then relieved the stress of the past day. preparing a person for a restful sleep with pleasant and prophetic dreams. In the minds of the ancients, music had a tonic and restorative effect, because it was capable of reuniting the alienated individual with the harmony of the Cosmos.

Since ancient times, when music played an entertaining or calming role, its place in society has changed noticeably. With the invention of sound recording, music became a commodity that could be bought or sold. The emergence of such a product formed its own market, which over the past half century has developed to gigantic proportions and began to generate huge profits (since the 70s, income from the music industry in Great Britain exceeded the country's annual income from several industries). This turn of events required the development of the music industry itself - the emergence of a huge number of radio stations broadcasting exclusively music, and in 1981, MTV music television appeared in the United States, broadcasting 24 hours a day. Thus, music has entered the daily life of a person; now, probably, there are not many people who would not experience the influence of this industry during the day.

Currently, it is impossible to determine any dominant genre of music - it was the development of the industry and the commercialization of music that erased the boundaries of the musical trends themselves, and, accordingly, the differences in their popularity. Consequently, the differences are not in the music itself, but in its listener, or, more precisely, in his listening to this very music.

In the life of a modern person, music plays not just an entertaining role - it is a means of self-expression, serves as a barrier to separating one’s own lifestyle from the universally recognized one, and helps to identify and find others like oneself among the general mass of people. There should be a direction for this and a music lesson at school.

The theoretical significance of the modern music lesson lies in supplementing music pedagogy with new approaches to interpreting the concept and structure of musical culture through the creation of stages of musical technology; in determining the mechanism of formation of musical culture in adolescents through music.

The practical significance of the modern lesson is:

• studying and taking into account the interests of students to create a situation in which the student is a co-author of the lesson;
• the use of targeted methods of musical education, built on the principles of developmental education, with the help of musical technical means (computers, CD players, stereo systems, etc.).

In pedagogy, musical training and education are interpreted as a process of organized assimilation of the basic elements of social experience, transformed into various forms of musical culture, where musical culture is understood as a complex integrative education, including the ability to navigate various musical genres, styles and directions, knowledge of musical theoretical and aesthetic character, high musical taste, the ability to respond emotionally to the content of certain musical works, as well as creative and performing skills - singing, playing musical instruments, etc.

Modern education has set the task of more fully using the moral potential of art as a means of forming and developing ethical principles and ideals for the purpose of spiritual development of the individual, creating conditions for self-realization and self-determination of the student’s personality, significantly changing the quality of education. Previously, the educational process of a music lesson was carried out according to the goal → result algorithm. A modern lesson focuses on a different model: result → goal. The teacher must clearly see the result, and then set a goal, present a model of personality at each age stage, and then build targeted creative goals and objectives (example: using CD players for individual listening to music).

One of the key problems of modern music education is the attitude to a music lesson as an art lesson, built on the principles of developmental education. This is a lesson that elevates the student above the everyday, providing an unlimited outlet for children’s creativity, forming the moral core of the individual, which is based on the desire for beauty, goodness, and truth.

In particular, in music pedagogy, the problem of forming a musical culture among adolescents through the means of music of mass genres, which is widely popular among teenagers and performs the following functions:

1) communicative, related to communication about music;

2) affiliative, presupposing inclusion in a certain group or community (fan club of an artist or group, various informal associations - punks, hippies, etc.);

3) suggestive, associated with suggestion;

4) pronological, which involves the consolidation of a certain stereotype of behavior;

5) physiological and psychological release (screaming, stomping, etc.);

6) identification with others like oneself, which leads to the loss of individual personal certainty;

7) recreational-hedonic, associated with receiving pleasure from listening to music;

8) aesthetic, involving the receipt of aesthetic pleasure.

Taking into account the interests of teenagers can serve as a stimulating factor in the perception of music by students. At the same time, it is important to conduct disputes and discussions with students about certain phenomena occurring in musical life, radio and television programs, publications in the press, listened to records, CDs, magnetic albums and concert programs, which helps to awaken in students the ability to analytically , critical and theoretical activities.

And although jazz is not currently considered mass music in the precise sense, everything noted above can be applied to it. If children are interested in jazz music, they will begin to perform all of the indicated functions.

jazz lesson music education

Speaking about a modern music lesson, we need to talk about musical technology, which should be based on the following stages:

1) preparatory - involves creating in students an attitude towards the perception of music, using familiar musical material;

2) educational (informational and cognitive) - involves familiarizing students with the main musical genres, styles and directions within the framework of a music lesson; formation in students of an attitude towards the perception of the content of works of academic, folk mass music; formation in students of an emotional and evaluative attitude towards musical values ​​and the organization of musical educational activities during music lessons and during extracurricular hours;

3) developmental (active-creative) - aimed at introducing students to active musical activities in class and outside of class.

A set of components of the musical educational process aimed at developing the listening musical culture of schoolchildren adolescence can be described like this:

1. experience of emotional-value attitude - development of communicative, spiritual-moral and artistic-aesthetic needs and motives in the field of musical art, aesthetically oriented attitudes and value orientations of students, development of emotional perception and emotional-aesthetic experience of music;
2. experience of educational and creative activity - the creative activity of schoolchildren in comprehending musical works, acquiring ways to comprehend the spiritual (“mental”) meaning of music, the most common of which are: “hearing” the worldview conveyed by music, agreement or disagreement with the value position of the author, awareness of the world expressed in music attitude to the world and its values;
3. knowledge - about the spiritual and semantic potential of music as a form of artistic knowledge of the world, as the most generalized art, about the specifics of the language of music and the expressive features of its elements, about the specifics of various genres and styles, about the features of the lyrical, epic, dramatic, heroic, tragic, comic in musical art, about the laws of musical movement, knowledge of special musical terms that contribute to the understanding of music (culmination, arrangement, consonance, dissonance, etc.);
4. skills - to hear prominent, “speaking” intonations and sound complexes, to realize their semantic meaning, to differentiate elements of musical language in a particular work and determine their expressive role, to record key moments of musical movement (changes in sound, contrasts, various kinds of subito, the emergence of new themes, climaxes), the ability to analyze and evaluate a work from the point of view of its content-semantic significance and aesthetic characteristics, formulate one’s attitude towards music, find information related to music, use and acquire musical knowledge and skills in independent educational and leisure activities
5. Methods - method of forming and evaluating the “global” thought of a work, the method of the musical “alphabet of meanings”, the method of the semantic “picture” of style/genus, the method of figurative vision of the line of musical movement, the method of semantic vision;
6. The forms are communicative (lessons with group and pair work), creative (lesson with an “open task”, lesson on recoding), heuristic (lesson reviewing, lesson on working with primary sources, lesson on creative generalization);
7. Means - personal audio cassettes and CDs, educational products of students (annotation to a work, song, musical presentation, etc.).

Based on this complex and taking into account all of the above, we have developed a summary of a music lesson on a jazz theme. We chose the first in a series of lessons on introducing jazz music, since here we can fully demonstrate the use of various techniques and forms of work in the lesson. And also, this allows, in the analysis of the lesson, to note the teenagers’ initial perception of this musical direction, their interest in this topic.

2.2 Lesson outline

TOPIC: “The Origins of Jazz”

Goals :

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

2) develop vocal and choral skills: diction, articulation, ear for intonation based on the material of G. Gladkov’s song “Mr. Beetle”;

3) educate a thoughtful listener, instill an interest in musical art and aesthetic taste.

Lesson type: formation of new knowledge

Lesson form: combined lesson

Visibility:

• stylized image of Mr. Bug;
• attributes for creating the image of Jazz: hanger, top hat, cane, tailcoat, boots, bow tie;
• map of the USA (preferably at the end of the 19th century);
• images of images of Spirituals, Ragtime, Blues;
• pictures with musical instruments;
• signature cards featuring Mr. Jazz;
• song lyrics;
• photographs of the first jazz band led by King Oliver, the first performers - Louis Armstrong, Ella Fitzgerald, Duke Ellington and others;
• musical text of the song.

• music center,
• recordings with phonograms,
• video karaoke.

• maracas,
• dishes,
• triangles.

1. ORGANIZATIONAL MOMENT

Musical greeting from the teacher.

Today I didn’t come to class alone. With me is a mysterious gentleman 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 determine his name based on the musical letter he addressed to you. (A distinct jazz musical fragment sounds)

Help me guess the name of the mysterious stranger.

Children: Jazz.

Teacher: What gave you this idea? By what means of musical expression did you determine that this Mr. Jazz?

Children (with the help of the teacher): Characteristic confused (syncopated) rhythm, emphasis not on the strong, but on the weak beat, predominance of percussion and wind musical instruments.

2. FORMATION OF NEW KNOWLEDGE

Teacher: But in order to better imagine the image of Jazz, let’s try to trace the history of his life.

Fast forward to the 20s. XX century. Then the New and Old Worlds (as they liked to call America and Europe back then) (show on map) were seething with conversations about some kind of jazz band.

What a strange name?

Some kind of nickname?

Who is he? - some were indignant.

Who is he!!! - others admired.

This savage with a gangster name does not know the rules of decency! - the first ones were seething.

Have you heard the noise it makes?

Have you seen how free he is in his movements?

He's the right guy! - others were more excited than the first. - And he behaves this way because he doesn’t know how to pretend! But he says what he feels. And even more interesting than other literate people!

Friends and enemies of Jazz agreed on one thing: everyone wanted to know where this scandalous personality came from.

And Jazz was no more than 20 years old at that time. He was born in the southern United States and lovingly called his land Dixieland. I especially warmly remembered New Orleans, the city where the great Mississippi River flows into the ocean (working with a map).

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?

Small orchestras drove around in trucks 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 to another - the vanquished dragged the winners. This is the kind of street education our Jazz received as a child.

The tomboy from the street grew up, and at about 15 years old he left hometown look at people and show yourself. And besides, the time has come to think about making money. 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. I also visited our country. And I managed to make true friends everywhere. Talented people in different countries not only imitated 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 Uncle Spirituals, the sad Uncle Blues, the cheerful Uncle Ragtime.

3. LISTENING

Teacher: Try to determine what character traits Jazz inherited from each of his uncles? (After listening to vivid examples of jazz styles, children describe the character of Jazz. From Spirituals - politeness, religiosity, importance, pride, etc., from Blues - romance, dreaminess, sensuality, tenderness, from Ragtime - cheerful disposition, cheerfulness, liveliness of character, expressiveness and etc.)

WORK IN TERMINOLOGICAL DICTIONARIES

Spirituals - songs of North American blacks with religious content. They were sung in chorus by plantation slaves, imitating the spiritual hymns of white settlers.

Blues is a folk song of American blacks with a sad, mournful tone.

Ragtime is dance music of a special rhythmic nature. Originally created as a piano piece.

Teacher: And one more thing. When Jazz became very famous, a real hero of the day, many tried to capture his extraordinary appearance. “It looks similar,” people agreed, looking at his portraits, “but something very important cannot be “grabbed.” He is much more interesting in life. Try to convey what and how he speaks, his look, his gait. Maybe then you will understand what the secret of this amazing person is.”

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 - he began to be seen at the Philharmonic and the Opera House.

But Jazz remained Jazz, and his devoted friends recognized him in every form, loved him in every mood.

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.

4. SECURING

GAME “Choose your tools”

Teacher: So, let's try to draw a psychological portrait of Jazz. What character traits does he have?

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

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

Learning the song "Mr. Bug"

Music G. Gladkova, lyrics. J. Ciardi

1. I once knew the red Mr. Beetle.

We met like this: Mr. Beetle is a big eccentric!

Just honestly and openly fell into a trough in the evening.

Mr. Bug is a big weirdo.

1. I asked him: “Where are you going? So cute fun!

You probably want to become a steamboat in a trough?”

The beetle said, going to the bottom: “Get off, I’m drowning!”

Get off me, I'm drowning!"

1. Here, with the help of a branch, I had to get the Beetle.

He crawled out, grumbling angrily: “Who asked you to climb into the trough?

I sailed on a west-west-north course, I love water sports,

I love water sports!

1. I would say thank you, but, sorry, I’m too proud

Since childhood, I confess to you, I am used to doing everything myself:

I'm used to doing everything myself.

Crawling yourself and biting yourself, drowning yourself and saving yourself.

I’m used to doing everything myself.”

1) Performed by the teacher (reincarnation - hat with a cane - playing with the Beetle)

Teacher: So, what style was the song sounded in?

Children: Jazz.

Teacher: With what musical means did you quickly determine your musical style?

Children (with the help of the teacher): Syncopated rhythm, emphasis on the weak beat, predominance of wind and percussion musical instruments.

2) Game “Musical Echo”

Purpose of the game: activation of the process of learning a song, development of dynamic and timbre hearing of students.

Progress of the game: The teacher plays an instrument and sings a short phrase from a song, the children must repeat this phrase, trying to imitate exactly the same as the teacher does. Moreover, you can deliberately change the tempo, dynamics, and timbre during performance, which contributes to the development of musical attention when learning. During the game, children do not get bored with repeated repetition of the same phrase or verse as a whole.

Learning phrases;

Singing from notes;

The first verse with the words;

3) singing via video karaoke;

4) singing with DMI (standing, with movements, with clapping, musical instruments are passed along the chain.

After performance - praise:

Teacher: I saw in you future jazz performers. It turned out to be a real jazz band. I hear among your voices the heads of jazz stars - Louis Armstrong, Mile Davis, Bassie Smith, Leonid Utesov - one of the first jazz performers in Russia, Larisa Dolina and Irina Otieva, who began as jazz singers.

6. LISTENING

So, the image of a mysterious gentleman emerges.

At home you will try to paint a portrait of Jazz using paints. I am sure that everyone will turn out to be different, some are impulsive, others are cold, cheerful, thoughtful, affectionate, pedantic. And to make your portraits more authentic, I will introduce you to the “golden voice” of America. Close your eyes. Fast forward to an old cafe on 5th Avenue in New York. The lights go out, the patrons of the establishment stopped their conversation and turned their gaze to the neon-lit stage. A low, velvety voice spreads throughout the cafe, enveloping visitors like fog with its intoxicating sounds.

Yes, on stage she is Ella Fitzgerald herself, an overweight black woman, but charming and surrounded by countless fans. (Music sounds)

At the end of the lesson, as homework, I would like to invite you to depict in your drawings the impressions you received from listening to jazz music. We will carefully consider all the works and figure out whether you liked this music or not. .

2.3 Lesson analysis

Based on the results of the lesson indicated above, conclusions can be drawn about its effectiveness and the reaction of students in the lesson. To do this, we will analyze this lesson.

1. The lesson was a complex lesson using various technical means and visual aids. Focus: lesson on presenting new material.
2. Lesson structure: consisted of six stages, at each of which individual, group and joint class work was carried out. Repetition and consolidation of the material was carried out in the form of a game.
3. The objectives of the lesson were fully achieved.
4. Assessing the lesson content from the point of view of general didactic principles:
   • informative - during the lesson a lot of material and information about jazz music, performers was given, and terminology on this topic was also worked out;
   • visibility - the use of various illustrations and portraits;
   • consistency - the logical orderliness of the material presented, the absence of omissions in the presentation, the cyclical nature of the study of complex concepts;
   • connection with practice - theoretical information was reinforced by listening to music and learning a song in the jazz style.
5. Students' work in class.

The children found it very interesting this topic. This is explained primarily by the fact that almost everyone has heard about such music, but almost no one listened to it. Many people know Louis Armstrong by hearsay, but only a few have listened to his music. Therefore, children already have initial interest. It was important to stimulate and support him during the lesson. And besides, it seemed important to evoke an emotional response in children to works of this style. The children's attitude towards jazz was visible both during the lesson and at the stage of homework - drawings.

During the lesson, children work very actively, there are no indifferent glances. No one is distracted by extraneous matters. All excerpts are listened to with great attention; it is felt that children like this music. Despite the seemingly “childishness” of the memorized song “Beetle,” teenagers sing it with pleasure due to the slightly parodic nature of the composition, as well as the unusual jazz setting. The teacher also plays a big role here - his musical and acting abilities, how he will present this song, how he will play it. The teacher should try to convey to children not fragmentary knowledge about the history of the formation of jazz, but to convey that “spirit of the jazz era,” which in fact constitutes the main value.

At the homework stage, children completed drawings based on the results of the lesson. Here we can note the following: most often, children prefer an objective depiction of their emotions, that is, in their drawings there is always some separate object associated with a jazz theme, around which the entire composition of the drawing is built. For example, there is a saxophone in the middle of the drawing and around the notes, the scale is yellow-green-brown, the boy said about his drawing that these are his impressions of jazz music - the warm range of colors indicates that it evokes positive emotions in him, most of all to him I like the way the saxophone plays, that's why it's in the middle of the picture. Many people depicted portraits of jazz performers or even entire jazz bands in their drawings.

In general, we can conclude that the lesson was very interesting and useful for the children; it not only reinforced their ideas about jazz music, but also evoked positive emotions and encouraged them to express them on paper.

CONCLUSION

Summarizing our research, we can draw the following conclusions:

1. The musical culture of adolescents is formed under the influence of two factors - mass media and communication with peers, which ultimately leads to the consumption of musical products of low aesthetic quality, far from national roots. The main task of music pedagogy today is to ensure the purposeful nature of the process of forming a high musical culture among adolescents. To form a high musical culture means:

- to cultivate musical taste, the ability to aesthetically evaluate musical values;

— to give students knowledge of a musical theoretical and aesthetic nature, to teach them to independently navigate the main musical genres, styles and directions;

— to develop students’ skills for active and creative activities.

2. The level of a student’s musical culture is determined by the level of his general development - his intellectual abilities, interest in fiction and other forms of art. On the other hand, musical culture has an inverse effect on the overall development of the student.

3. The listening musical culture of teenage schoolchildren is an integrative multi-level personality quality, which manifests itself in the ability for spiritual enrichment through perceived and performed music in educational and leisure activities and contains a number of interdependent components: motivational, emotional, cognitive-intellectual, evaluative, activity.

4. The effectiveness of the formation of the listening musical culture of teenage schoolchildren is achieved, in our case, under the following conditions:

inclusion in content music training such components as a) knowledge about the significant spiritual and semantic potential of musical art as a form of artistic knowledge of life and the surrounding world; b) schoolchildren’s mastery of ways to comprehend the meaning of musical works; c) widespread use of jazz music as artistic material as an epoch-making phenomenon in world musical culture.

5. The jazz style, which combines the properties of entertaining and academic music, is one of the possible means in modern education, which can be used to bring musical interests, taste and quality of music perception to a higher level of development, a means of achieving a conscious attitude of children to classical works -romantic heritage.

6. Jazz music can be used as a factor in the formation of musical culture in adolescents only under the condition of targeted pedagogical influence.

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Jazz is a unique phenomenon of musical art.

Once upon a time, someone asked me:
— Is jazz really music?
I was so amazed that I couldn’t even answer. Time flew by. Life changed, people changed...

— Jazz is a unique phenomenon of musical art...

A very long time ago, when sheet music did not yet exist, music, as it would be easier for me to say, was transmitted “from ear to ear.” After all, musical creativity since ancient times and still exists in three planes: one - the composer of music, the second - the performer, and the third - combining these two concepts - the author and the performer in one person.
The basis of composing for music, we will call compositions, is the principle of a long process, realizing the creative impulse directly in sounds, which is subsequently recorded as a finished work.
At the heart of performing skills are the functions of the performance itself, based on the principle of developing a large volume of musical memory, as well as the development of virtuosic technical techniques of performance.
But the third principle, combining both performance and composition in one person, must have another important function - the so-called talent for improvisation, that is, the principle of simultaneous creation and performance of music (without a preliminary preparation process) during performance. Although this is quite controversial. Because there are examples when the composer had poor performance technique and did not know how to improvise, but wrote unique, virtuosic works. And vice versa, a performer who can excellently improvise on ready-made standards of melodies and harmonies has not composed even the smallest piece.
This short introduction is necessary to understand some things, which I will talk about a little later.
Such a huge number of works have been written about the development and history of jazz that it is already very difficult to add anything. But it’s still worth repeating somewhere, and somewhere focusing attention on those things that sometimes fall out of our attention. Or it can turn awareness of the significance of certain elements of jazz, as a unique phenomenon of musical art of the 20th century, into some new direction.
Understanding perfectly well that each element of the life process has its time, I cannot say that academic music is alive and well, rock music too, not to mention the world's treasury - folklore. But who can say that jazz is already dead?
The major trends in musical culture that created unique, powerful masterpieces will remain in the future development of the earth - forever. Moving away from the largest themes of the entire world musical culture, I would like to ask myself the question: - how is jazz different from everything else?
To do this, we need to go back and look at one important question: what kind of process is improvisation? This necessity is caused for some future connection and conclusion.

So - improvisation. Musical improvisation is much older than musical composition. Improvisation is an Italian word, but comes from the Latin word “improvisus” (unexpected, sudden). This is a special type of artistic creativity in which creation (composition) occurs directly in the process of action (performance). It is known that in the musical cultures of non-European peoples, improvisation still performs the most important function, manifested in different forms. Improvisational types of creativity dominated in Europe and began to gradually lose their positions, starting from (the appearance of the early notation system) the 9th to the 16th centuries. During this turning point (the beginning of the active influence of the written subculture) the word improvisation appeared as a manifestation of a certain watershed. In musical culture - variations, canon, toccata, fantasy and even fugue and sonata form were once actively improvised, and precisely in the process of performance in public. But with the advent of the so-called century of musical notation, it was European musical notation that became, in the full sense of the word, the prevailing element for the musical art of the whole world and this was one of the factors of its universality and worldwide significance, and improvisation disappears from the concert stage. Is this good or bad? Thousands of guesses can be made here. But let’s leave this conversation for now not for this context.
So, the written method (notation) carries a new concept of musical art, different aesthetic criteria, different creative psychology, different auditory qualities, and new methods of professional training. And naturally, written traditions led to a more advanced method of (recording) the music itself and a more accurate chronology of musical history. In the depths of the musical written culture of Europe, improvisational skills began to gradually become emasculated. The manifestation of this phenomenon is noticeable already in the XII-XVI centuries. In the 18th-19th centuries, musical improvisation was looked at especially unkindly, as a manifestation of obvious illiteracy and charlatanism. And at the end of the 19th century, they practically forgot about it completely. Although we know for sure what amazing improvisers they were: Bach, Mozart, Chopin, Liszt, Scriabin, Rachmaninov... But still, the age of improvisation, as a historical process, is over for the general European musical culture. But what happened next? To answer this question we need to move from old Europe to young America.
There are various rumors about young America. I think that some progressive Americans still know the history of the formation of young America better than you and me. Therefore, I will direct my thoughts in a different direction. Simply put, a variety of people are flocking to America, naturally representing different musical cultures, mostly from Europe. They are also brought from Africa, but as slaves... People from pan-Asian countries arrive in smaller numbers. The indigenous peoples of America, mainly Indians, are being forced out. Here many people paid attention to one important detail.
People from all over began to flock to America globe to earn a lot of money in this young country and thereby change your life for the better. It's a good idea. But the social environment, and behind it the way of life and culture, was built on a completely different principle, on “different material” than in conservative (if you can, of course, call it that) Europe. Naturally, such an unimaginable synthesis of cultures and the way of life itself could not but affect the organization, the birth of a certain new subculture, “somewhat” different from European culture. What am I getting at?
The fairy tale that black slaves gave birth to jazz is not entirely believable, and moreover, it is extremely harmful.
The struggle of black Americans for their rights is respectable. Historians, who saw some social roots in this, began to openly manipulate the facts, namely, the structural elements of the new musical subculture, because they themselves did not understand anything about it at that time. And immediately Europe responded, and later the Soviet Union, and off and on it went. The simplest logic was not appropriate in those distant times. But still, even in those distant times of the beginning of the 20th century, progressive scientists wrote more than once (but somehow they did not pay attention to this, or did not want to pay attention, all kinds of revolutions were too fashionable in those days, and the struggle for social rights), that somehow jazz was never born in Africa, and didn’t even take root. And to a greater extent in India too. Although we can say for sure that many Indian folk rhythms are absolutely as acceptable and are identified with jazz rhythms, no less than African ones. Why?
Interesting comparison. Karate-do. All over the world, this martial art is considered Japanese. That's how it is. How the school itself and the social environment for this martial art were formed in Japan. But what is the way of getting this, let's say, teaching, to the Japanese islands. It's simple. From India the road goes to China, then to the Japanese island of Okinawa, which at that time was still Chinese. So what about these factors?
Let's go back to the end of the 19th century. Europe enjoyed the art of great musical masters to its fullest. That only one was worth it - Chopin. And Liszt, Wagner, Tchaikovsky, Rachmaninov?.. And everyone somehow missed the moment when the integration of many musical systems, in America, which was already gaining economic strength, began to give rise to a kind of symbiosis, a new musical subculture, which would then take over the whole world in the 20th century , but this is not only jazz, but also rock, as its natural continuation.
My thoughts will be based on very simple concepts and comparisons, and I will also quote freely stated phrases from some works, so as not to lead you into some kind of fornication with theoretical terms, many of which I still remember. But, of course, you and I will not completely abandon terminology, since it often carries a conglomerate of concepts that are difficult to express in one sentence.
If you want to travel with me, I will be glad. If you want to get off the path of my thoughts, close this material.

So. The confluence of historical events, the intertwining of destinies, the social environment, the synthesis of cultures is only a small component of the prerequisites for the creation of a new musical subculture. Yes. You can talk a lot about who was the first performer of a particular musical genre. But still, the most important thing is that we need to understand exactly what direction it is and what exists in this direction.
After all, there’s no escape (“you’ll fall in love and get married”), but all music is based on three, as they say, pillars: melody, harmony and rhythm.

Melody.
Each generation, as it were, develops its own melodic repertoire, which best corresponds to the historical ideas of a given time. But melody is an integral part of rhythm and, often, harmony, and is largely dependent on these factors. The end of the 19th century, the beginning of the 20th century. The main melodic component of that time in America was the European melodic model, and only then the introduction into it of elements inherent in the folklore of black Americans, Indians, English, Scottish, French, Spanish and other peoples inhabiting America. But the most characteristic techniques for performing the melody appeared in the new musical subculture in some so-called blues tones (blue-notes), characteristic of the folklore of American blacks, but not only them (the “flickering” of major and minor is inherent in Old Russian folklore too). Some “dirty”, “unstable” (dirty, labile), scream effects (shout). These are characteristic elements of melodic techniques (I emphasize, techniques) for that time, which later became characteristic of jazz, that is, they became standards, but not fundamental elements of melody.

Harmony.
Harmony in its classical sense is an element of music inherent mainly in the European direction. In the new musical subculture of the beginning of the 20th century on the American continent, the process of development of harmony occurred with the very process of composing, playing music and was associated with those expressive means that a given musician wanted to express at a given moment. In jazz, harmony is inherently linear (sequential, diatonic); this structure of a sequence of harmonies is characteristic of the folk music of many European nations and not only them, although not all works of jazz are such. A striking example: the harmonic structure (harmony sequence) of Blues, many say that this is completely the creation of American blacks, and this is a purely European chord sequence (but sept/sixth chords - that is, the coloring of these chords is already characteristic of jazz itself): I-IV- I-II-V-I (deliberately put the II degree instead of IV in order to remove the talk that illiterate Africans used the V-IV stage turn, a harmonic turn prohibited in classical European music, and II-V - it turns out that it is allowed, but it is almost imperceptible , although let it be V-IV). We found out that the harmony in Blues is purely European. The number of bars is twelve. But this is not the result of the creation of some new Negro non-standard musical structure (form), but simply the addition of four more bars to eight bars (an absolutely European system of formation) that occurred due to the simple repetition of a four-bar line of poetic text. In 1965, master, bachelor, teacher of the Juilliard School, John Mehegan, published a work using a digital system of notation for harmony (general-bass - “general bass”, which has existed for 200 years in European musical culture), thereby accurately and completely reflecting the entire system of organization harmony in jazz, drawing a parallel between the origins of jazz harmony and classical harmony. But I want to emphasize that in jazz triads are practically not used, but chords with at least four sounds are used.

Rhythm.
In the area of ​​rhythm, jazz musicians made the most significant achievements. “It is the rhythmic qualities of jazz that fascinate many people around the world and have come to symbolize the sound of jazz.” But rhythm organization based on standard meter and sizes is a purely European model, inherent in its entire musical culture. Yes. There is no analogy in classical European music for the unique rhythmic elements of jazz. For classical European music, maybe yes, but not for the folk rhythm model of various non-European countries. This applies to pan-Asian countries, Turkey (Sakal...), India (Detsy-Talas...), Bulgarian, Russian rhythms and naturally the rhythms of the African continent. Here is an example of simple rhythmic counterpoint inherent in European thinking:
1. eighth notes - melody;
2. halves - harmony;
3. quarters - meter, time.
It is on these three verticals in jazz that a certain new rhythmic organization takes place, which cannot be written down in any kind of musical notation. Although this is a controversial issue. You can record everything... I don’t want to talk a lot about shuffle, drive, cross-rhythm - all this can be combined with the word swing, but this is also a conventional name and naturally this word cannot combine all the concepts of the rhythm organization of jazz, especially cross-rhythm (cross rhythms). Much has been written about rhythms, the history of the development of rhythms, biorhythmics by major composers of the 20th century such as Messiaen, Boulez, Webern... I would like to note that among the romantic composers of the late 19th century there was already an increasing tendency towards a kind of free-dynamic emphasis against the metric function of the beat . It was already a kind of swing, but more free and sophisticated. However, jazz rhythm ushered in a new era of rhythm organization in the 20th century.

Following the logic of my reasoning, it becomes clear that no one in those days created anything supernatural, and there was no need to. The “collection of all works” in the field of folk (I emphasize - folk, at the same time, different peoples) musical culture at the end of the 19th and beginning of the 20th centuries on the American continent led to the birth of a powerful musical direction - Jazz, which became comparable only to academic musical culture. At the same time, the use of European musical instruments, including even drums, once again emphasizes the logic that ninety percent of jazz is based on the European method and rules of music-making accepted at that time.
Melody. Harmony. Rhythm. While changing, these three pillars still remained fundamental in jazz. But jazz would not be jazz if you and I still ignored the element that in jazz is its core - improvisation. Eighty percent of jazz music is improvisation. Without improvisation, jazz, such as we have today, would not exist at all.
But let's return again to improvisation. You and I already know that at the end of the 19th century, improvisation in academic music was viewed especially unkindly. But on the American continent, by and large, at the end of the 19th century, academic music was, to put it mildly, treated coolly.
But... But still, many musical pieces and songs of that time, even such as early ragtime, country and beginning blues, were played without allowing for the possibility of improvisation. They were just learning.
But how did the process of returning improvisation to musical culture, even a new one, begin?
Improvisation, as an art form, requires a special talent, which distinguishes an improvising musician from a musician who only reads notes.
The improviser must master the material of his art: musical form, melody, harmony, rhythm, texture, polyphony, etc., no worse than the composer. That is, the prerequisites for the revival of improvisation are the emergence of people (improvising musicians) who could embody all the elements of this art form. And the process began. That is, the process of self-expression of musicians began (fortunately, the new direction of music - jazz allowed this), both in terms of composition and in terms of performing skills.
There is a law in psychology called “anticipatory reflection.” In musical activity, this was expressed in the ability of musicians to predict the further development of a musical work. This factor, along with many others (about which a little later), is important in the work of an improviser. Considering the significant number of operations performed by an improviser, it should be noted that most skills should be automated, since the consciousness of a musician at the moment of improvisation is mainly occupied with the search for the development of musical thought. Every improvising musician must have an “elementary musical complex”:
1 ability to respond emotionally to music;
2nd modal (harmonic) feeling;
3 sense of form;
4 auditory presentation;
5 rhythmic feeling;
6 the ability to analyze music during performance and predict its development.
This is the minimum that an improviser should have.
But I would still like to take a closer look at the two main factors of the improviser, which you and I already know:
1) composer's apparatus;
2) performing apparatus.
Musical improvisation is a form of productive artistic activity, as a result of which a new work or a new version of an existing musical theme appears. The main tool for this is creative thinking. The work of imagination and management of acquired skills is central to creativity. When creating a work, the composer solves mental problems to a certain extent on an analytical level, acting by the method of selection, comparing what has been achieved with the goal towards which he is moving. Constructive thinking often acts independently as the main driving factor. Constructive thinking is immediately followed by so-called artistic-imaginative thinking. Both types of thinking form the basis of the composer’s apparatus of the improviser. The components of evaluation, that is, the aesthetic taste of the composer's apparatus, are a sense of proportion and a sense of form.
And an improviser, who simultaneously performs music and creates it, must also possess a performing apparatus no less than a compositional one. The performing apparatus differs from the composer's apparatus. In the language of philosophy, the performer contemplates. And if we look even deeper into the fabric of the performer’s creative process, then he, as it were, finalizes and speculates the composer’s activity, turning his theme (work) into a complete, highly artistic image. This means that the main element of the performer is the type of thinking (reproductive) and its derivative - a highly organized type of imagination. And naturally, it has already been said about this that the basis of the performing skills of an improviser are the principles of developing a large volume of musical memory, as well as the development of virtuosic technical techniques of performance.
And so these two global images, two directions of musical thinking and skills united into a certain substance that gave birth to a completely new generation of improvising musicians, thereby closing the chain of the return of the improvisational element to the musical culture of the 20th century as a whole. Of course, this process was not lightning fast and unambiguous. Everything developed and returned to its place gradually.
The first skills of an improviser lay in the plane of so-called paraphrase improvisation, that is, improvisation of appropriate variation, embellishment of the melody, slight variety in rhythms, etc.
Further, the improvisational skills of the musicians developed and resulted in a certain system of linear improvisation. This system of improvisation dominates, almost to this day, but naturally, it is developing. Today everything falls into the improvisational element: melody, harmony, rhythm and even form, as the general structure of the work. So, linear improvisation is a kind of composition of a new version of a melodic line based on the existing harmony, theme, form, or maybe only on the harmony, or even just on the modal structure of the work.
But there are various rumors about the third type (system) of improvisation - spontaneous. Spontaneous improvisation, free, is something that is difficult to analyze. Let's say I offer myself this option for improvisation: g-moll (Mixolydian mode), plus based on some kind of rhythm, or I choose the character of the piece, determine the tempo, texture, etc. This suggests that there is no such thing as absolutely free improvisation. The process of improvisation is by no means some secret ritual performed arbitrarily without prior and precise knowledge and skills. Rather, it is the conscious application of logical and comprehensive musical ideas that reach heights of expression in collaboration with trained musical talent endowed with the ability to imagine.
I present these small crumbs of knowledge of the improvisational apparatus of a musician in this work, knowing, of course, not fully, but still knowing how the improvisational element developed in the history of musical culture.
The development of improvisation in the 20th century is practically a repetition of this story, but at a new stage of time. This is the revival and return of improvisation to the general musical world. And this happened thanks to the birth and development of a unique, large, beautiful and inimitable musical art - jazz.
And yet, in order not to be unfounded, let's make a small excursion into the history of improvisational art. This is extremely useful. Very little is written about this. But anyone who doesn’t want to read this, or knows this material, can skip it.

In the first centuries of our era, in the musical tradition of the Mediterranean there was only the so-called oral tradition of transmitting musical material. The ancient schools of late antique culture that have come down to us taught: “you must sing according to your own inspiration.” In the philosopher Boethius of 480-525 we find the words: “but he who does not know how to sing pleasantly still hums to himself”... In the 7th century, the time of spiritual chant comes. At first, the church did not exclude improvisation. At the moment when it was necessary to compose something instantly, the singer naturally used improvisation skills. The Gregorian traditions of churches have left their mark. The singer who lived in the first millennium had no need for precise notation, since literally repeatable music did not yet exist. Each musician brought something new to the musical material, i.e. improvised.
At the beginning of the second millennium, the word improvisation appears more and more often in musical treatises on the art of music, as a precursor to written creativity. Apparently the musicians of that era were already thinking about the phenomenon of improvisation itself. The outstanding reformer of music pedagogy and notation, Guido Aretinsky, puts forward a composition method based on accidents. This is very similar to what would be a letter (or number) harmony improvisation in today's game. But in this type of spontaneous composition proposed by Aretinsky, the system of modern academic composers working in serial and aleatoric composition is still most visible.
In the 12th-14th centuries, the manner of improvisation of minstrels, jugglers, and shpilmans and the degree of their virtuosity largely depended on specific conditions. Aristocratic entertainment (hunting tournaments) was accompanied by music, and a medieval procession could combine elements of folklore performance, religious drama, dance, chant and ensemble improvisation, which is confirmed by the words of a chronicler of the Burgudian court:
“and the silver trumpets, as many as six or more, and other minstrel trumpets, organ players, harps and other countless instruments - all with the power of their playing made such a noise that the whole city rang.” Forms, methods and techniques of collective improvisation in the Middle Ages were developed almost spontaneously.
The emergence and development of early forms of polyphony in professional European music of the 15th century were based on a balance between written and improvisational tendencies. Essentially all written polyphonic forms used by medieval authors originated from collective improvisation. At this time, a form of improvised polyphony, the so-called faubourdon, became widespread in Europe. This is essentially a variation of the mixed form, where the outer voices were composed and the middle one was improvised. But in the 15th century, another principle of improvised polyphony appeared - imitation...
During the Renaissance of the 16th-17th centuries, so-called spontaneous creativity was highly valued. Improvisation was no longer equated with some uncontrollable element, but required high skill, constant improvement, universal knowledge, abilities for structural thinking and mastery of a whole system of technical techniques, that is, a real school. The art of improvisation itself was also universal, covering not only music, but also poetry and dramatic art. The maestro (as the musician or poet-improviser was called) was required not to repeat a memorized and specially prepared work, but to have the skill of improvisation, that is, to always introduce something new. Not just memory, but a virtuoso ability to create every minute. At this time, special schools of improvisers were created, where the teacher himself had to master this art in practice. The technique of improvisation at this time reaches a high degree of professional development and includes several varieties.
The first is the transformation of one tune into a polyphonic piece (vertical line). Now this is expressed in the harmonic thinking of the modern improvising musician.
Another variation is the variation of new motives and phrases that transform the melodic line (horizontal line). Nowadays it is called linear improvisation.
Instrumental music of the Renaissance puts forward an additional variety - “free” improvisation. This is already a textural-motor aspect of improvisation, leading to the first independent forms of prelude, toccata, etc. Nowadays it would be called spontaneous improvisation, but on a clearly verified basis.
Another type of passage is developing, ornamentus, or diminuements - ornamental models of improvisation, i.e. improvised decorations. Nowadays it would be called paraphrase improvisation, not entirely accurately, but still...
The next stage in the development of musical culture (XVIII-XIX centuries) was the process of eliminating improvisation from performing skills. The art of improvisation becomes the lot of individual composer-performers (organists, pianists, violinists...).
That's how it happened. That's the story.
Before returning to the 20th century, to the century of the birth, formation and development of jazz, I would like to understand improvisation itself, but now as a kind of internal process of musical performance.

So.
Here is one possible point of view on the process of improvisation itself.
Improvisation is based on certain types of memory. The improviser creates musical material from certain ready-made blocks, previously remembered musical segments. The improviser manipulates these blocks, combining them like a mosaic. The smaller the block, the more beautiful the mosaic, the more original its coloring and the higher the artistic image of the canvas itself. This process is based on the regulative will and taste of the performer. Improvisation is recorded in memory as a memorable musical event, the value of which is not only in its intonation quality, but in its uniqueness. Models (tonemes), phrases that arose during this musical act are collected and cataloged in the memory of the improviser himself. This lava of improvisational heat gradually hardens and can be contemplated and improved. Therefore, in the compositional dictionary of European music, perhaps, there is not a single phrase that was not once found in the process of improvisation. Back in 1753, the work “An Experience in the Correct Way to Play the Clavier” demonstrates a method of teaching improvisation techniques. Individual improvisation has always required thorough preparation—school. Improvisers were highly valued in those days. Handel often improvised as he performed. Beethoven always prepared in advance for his public improvisations. Young Weber systematically practiced the technique of improvisation under the supervision of Abbe Vogler. Each major musician developed his own methodology for mastering the art of improvisation. This was related to individual performing and composing technique and represented an awareness of one's own playing technique. A student who knows how to improvise will discover in himself a special creative initiative in his attitude to music, a developed sense of form, style, and a tenacious memory. Of course, the phenomenon of improvisation has raised many scientific problems, since a certain historical gap in this area has made itself felt. Of particular interest are studies of the psychological and social aspects of improvisation, the development of problems in the theory of intuition, the creation of a manual on improvised counterpoint, diminuements, a more detailed and developed school of rhythm and harmony; research is needed on the relationship between memory and chance, the polystylistics of improvisation, etc. But the process has begun and is progressing successfully.

Let's summarize.
In early jazz we have such concepts as rhythm, harmony, melody, improvisation... These concepts have purely European roots, as I outlined above. Instruments in early jazz: winds, piano (or banjo), double bass, drums. These are European instruments, not counting, perhaps, the banjo and the drum set, which evolved and developed over time, and later the saxophone appeared. What has changed already in modern jazz? The basis remains the same. Musically, polystylistics have developed and continue to exist in jazz. The instruments included an electric guitar (by the way, in 1936), later a bass guitar, keyboards (synthesizers), and various instruments of a symphony orchestra and ethnic instruments of different nations were added.
And yet jazz is a completely new substance, a new unique art born in the 20th century.
What is this connected with?
But before we move on to the musicians themselves, without whom this trend in modern musical culture would naturally not exist, I want to analyze a little the musical fabric of jazz itself.
How did jazz become different from the rest of musical culture at the end of the 19th and beginning of the 20th centuries? Here we must understand that the infrastructure of academic music in America was insufficient and underdeveloped for many reasons. This is where it all just began. Filling the vacuum of musical culture was naturally filled by the ethnic musical cultures of the peoples inhabiting this country. And, especially since everything here is mixed up.
1. Naturally, the folklore styles of different peoples personified in most cases the so-called small forms. These were practically songs and instrumental pieces, mostly of a dance nature.
2. Next - minimizing tools. If in the cities there were still musical instruments: piano, double bass, wind instruments, violins, European percussion instruments, then there were country instruments: harmonica, some small percussion: bongos, maracas, maybe also a kind of rural violin...
3. The style of music, first of all, personified a certain symbiosis of ethnic song and dance styles of non-European and European cultures. This was expressed, first of all, by introducing unique elements characteristic of the musical cultures of different nations into the musical fabric of the same songs or dance pieces. Moreover, social roots began to influence the musical fabric of the emerging new musical art. It all came from life itself, from its way of life, social economic base... Also, rural (country) music had a great influence on urban musical culture and vice versa.
4. And naturally, since we are talking about the fusion of ethnic musical cultures, then, first of all, folk music always developed as an oral tradition, that is, through transmission “from ear to ear” and this certainly influenced the formation and development of improvisational skills of musicians of that time. The revival of this powerful layer of musical culture (improvisation) has begun, as a kind of master school base for the formation and development of virtuoso performing and composing skills of young musicians performing this music.
Thus, the emerging unique musical culture, later called jazz, at the threshold of the 20th century turned out to be a kind of synthesis of the ethnic cultures of the peoples inhabiting America. Naturally, there could be no talk of any classical (academic) music at the beginning of the development of jazz. Although the instrumental music of early reg-times can, with a stretch, be characterized as some small instrumental pieces for piano, close to the academic trends of piano music, but of a completely “special” musical nature. I would not like to repeat myself about the influence of such movements as country/and/western and early blues on the development of jazz. A huge number of works have been written and rewritten about all this... We are talking about something else. Jazz, as a musical art, turned out to be a completely new means of transmitting musical information coming from the Man of the Century and to the Man of the Century. Jazz gave birth to a certain substance that continued its life in rock music. I want to emphasize that we are not talking about the attitude towards rock music as the music of some hairy, dirty, wild and uneducated drug addicts, but as a huge layer of musical culture of the second half of the 20th century, which created a large number of musical masterpieces. So, jazz completely changed the general concept of performing and perceiving music. Everything seems to remain the same. It seems like nothing special new was invented. But everything has changed. I don't want to talk about this much. Place next to each other an academic (classical) ensemble and a jazz ensemble, and then a rock group. There seem to be the same number of musicians, but everything is so different. What happened?
And something happened... All the processes taking place in the formation of a new model of musical art were closed on people. As with many other things on this earth.
The social roots of young America developed heterogeneously. It was a kind of bundle of social and political contradictions that we could not survive for a minute in old Europe. They wouldn't even be able to appear there. For the young new state, in which the slave system still existed, and the slaves were Africans, the basis was in the rising economy. Everything was thrown into its development. Many people were dependent on her. And yet people remained people. No matter what shocks swept over their heads, no matter what difficulties, crimes and violence they passed through, the foundation of the Man of the Century was preserved - his soul. After all, what’s interesting is that when America was building and growing rich, there were many Chinese in the dirtiest jobs, but the influence of the Chinese on the birth of jazz was little noticeable, because they, politically speaking, were relatively free.
Whether it was on the ranch or in the cities, people, based on the economy, developed a certain awareness of the division of people into masters and workers, this model basically exists to this day. Although there is also a second layer - these are politicians and their employees - officials. It may be an old model for people, but in America it needed to be established. Naturally, “masters” must be served by “slaves,” and they were already present in young America, which, however, persisted for a long time, even when slavery was abolished. Thus, the question of who should have played the most music for the gentlemen becomes clear.
What follows is even more interesting. Much has been written about this. If somewhere on the ranch, as it were, Africans could be preserved in their hereditary form, but in the cities the process of assimilation with the white population naturally took place. This created what we have today - the so-called Creoles or American blacks. Further and even more interesting. Assimilation creates an amazing world that we now call Latin American. Added to them is what ethnographers call the Afro-Cuban population. These are the origins that today have a huge influence on jazz and not only on jazz. Yes. We can say that there were and are many African musical and ethnic components in jazz. Yes, we can say that many of the first jazz stars were Creoles, i.e. American blacks mixed with whites. But who can calculate how much other European ethno-musical sources influenced the component of jazz: French, English, Spanish, etc.? Or how did the musical origins of other non-European peoples influence the component of jazz? It seems to be forgotten, but in vain. I talked about the European musical origins of jazz earlier and here, as it were, everything is already clear. But it’s not clear why we are somehow accustomed to the fact that it was Africans who “invented” jazz?! Maybe I'm wrong. Maybe no one got used to it. But somehow it happened that the black population of America is associated with jazz. This is not entirely true. And it’s not even like that at all.
They will reproach me, but why divide who was first and how they played jazz?
There is only one objection - after all, the Japanese, as karate fighters, are naturally strong, but many fighters in the world are also no weaker.
But this is not a battle or a fight.
After all, Basie Smith, Louis Armstrong, and Duke Ellington are leading jazz musicians, but so are Gene Krupa, Benny Goodman, and George Gershwin. Further. Oscar Peterson, Charlie Parker, John Coltrane, but also Bill Evans, Chick Corea, Randy and Michael Brecker... But this is not a comparison. Comparison is not appropriate here. The point is, who divided jazz into black and white? For me, jazz is a new unique art of the 20th century, born in America, or more precisely in the USA, and belonging to the entire universe. This is not anyone's property. This is the property of everything earthly world. Just like rock music. Whose property is rock music? Does it really sound funny?
When you live in this world, many things open up differently. You can look at your feet, you can look at the stars, or you can do both.
There is and will be freedom of choice.

Free will and awareness of Universal harmony.
And how much harmony there is in jazz!

Rhythm is energy and movement.
And what an extraordinary, cosmic rhythm in jazz!

Thought is the engine of development. Melody is a thought. Thought is infinite and immortal.
And what an exquisite melody in jazz!

Creativity is the Universal flow that leads the Man of the Century to immortality.
And how much creativity there is in jazz!

Once upon a time, someone asked me:
— Is jazz really music?
I was so amazed that I couldn’t even answer. Time flew by. Life changed, people changed...
And for the third year now, I have begun lectures on the jazz improvisation course with the words:
— Jazz is a unique phenomenon of musical art...