Viking culture in the modern world. German-Scandinavian culture

After Christopher Columbus discovered a new continent and Europeans settled there, ships of human traders increasingly followed the shores of America.

Exhausted by hard work, homesick and suffering from the cruel treatment of the guards, the slaves found solace in music. Gradually, Americans and Europeans became interested in unusual melodies and rhythms. This is how jazz was born. What is jazz, and what are its features, we will consider in this article.

Features of the musical direction

Jazz refers to music of African American origin, which is based on improvisation (swing) and a special rhythmic construction (syncope). Unlike other areas where one person writes music and another performs, jazz musicians are also composers.

The melody is created spontaneously, the periods of writing, performance are separated by a minimum period of time. This is how jazz comes about. orchestra? This is the ability of musicians to adapt to each other. At the same time, everyone improvises their own.

The results of spontaneous compositions are stored in musical notation (T. Cowler, G. Arlen "Happy all day long", D. Ellington "Don't you know what I love?" etc.).

Over time, African music was synthesized with European. Melodies appeared that combined plasticity, rhythm, melodiousness and harmony of sounds (CHEATHAM Doc, Blues In My Heart, CARTER James, Centerpiece, etc.).

Directions

There are more than thirty directions of jazz. Let's consider some of them.

1. Blues. Translated from English, the word means "sadness", "melancholy". Blues was originally a solo lyric song by African Americans. Jazz-blues is a twelve-bar period corresponding to a three-line verse form. Blues compositions are performed at a slow pace, some understatement can be traced in the texts. blues - Gertrude Ma Rainey, Bessie Smith and others.

2. Ragtime. The literal translation of the name of the style is broken time. In the language of musical terms, "reg" denotes sounds that are additional between the beats of the bar. The direction appeared in the USA, after they were carried away by the works of F. Schubert, F. Chopin and F. Liszt overseas. The music of European composers was performed in the style of jazz. Later original compositions appeared. Ragtime is characteristic of the work of S. Joplin, D. Scott, D. Lamb and others.

3. Boogie-woogie. The style appeared at the beginning of the last century. The owners of inexpensive cafes needed musicians to play jazz. What is musical accompaniment requires the presence of an orchestra, of course, but it was expensive to invite a large number of musicians. The sound of different instruments was compensated by pianists, creating numerous rhythmic compositions. Boogie features:

• improvisation;
• virtuoso technique;
• special accompaniment: left hand performs a motor ostinant configuration, the interval between the bass and the melody is two or three octaves;
• continuous rhythm;
• pedal exclusion.

Boogie-woogie was played by Romeo Nelson, Arthur Montana Taylor, Charles Avery and others.

style legends

Jazz is popular in many countries around the world. Everywhere there are stars, which are surrounded by an army of fans, but some names have become a real legend. They are known and loved throughout. Such musicians, in particular, include Louis Armstrong.

It is not known how the fate of a boy from a poor Negro quarter would have developed if Louis had not ended up in a correctional camp. Here, the future star was recorded in a brass band, however, the team did not play jazz. and how it is performed, the young man discovered much later. Armstrong gained worldwide fame thanks to diligence and perseverance.

Billie Holiday (real name Eleanor Fagan) is considered the founder of jazz singing. The singer reached the peak of popularity in the 50s of the last century, when she changed the scenes of nightclubs to the stage.

Life was not easy for the owner of a range of three octaves, Ella Fitzgerald. After the death of her mother, the girl ran away from home and led a not too decent lifestyle. The start of the singer's career was the performance at the Amateur Nights music competition.

George Gershwin is world famous. The composer created jazz works based on classical music. The unexpected manner of performance captivated listeners and colleagues. Concerts were invariably accompanied by applause. The most famous works of D. Gershwin are "Rhapsody in Blues" (co-authored with Fred Grof), the operas "Porgy and Bess", "An American in Paris".

Also popular jazz performers were and remain Janis Joplin, Ray Charles, Sarah Vaughn, Miles Davis and others.

Jazz in the USSR

The emergence of this musical trend in the Soviet Union is associated with the name of the poet, translator and theatergoer Valentin Parnakh. The first concert of a jazz band led by a virtuoso took place in 1922. Later A. Tsfasman, L. Utyosov, Y. Skomorovsky formed the direction of theatrical jazz, combining instrumental performance and operetta. E. Rozner and O. Lundstrem did a lot to popularize jazz music.

In the 40s of the last century, jazz was widely criticized as a phenomenon of bourgeois culture. In the 1950s and 1960s, attacks on performers ceased. Jazz ensembles were created both in the RSFSR and in other Union republics.

Today, jazz is performed without hindrance at concert venues and in clubs.

Jazz is a relatively "young" cultural phenomenon of the twentieth century and its peer. Having originated in the United States of America, in the process of its evolution it went beyond the framework of a purely American phenomenon, spreading throughout the world and carrying with it a certain image of awareness of the surrounding reality. In this regard, attempts to comprehend jazz as a cultural phenomenon began to appear. At the beginning of its development, jazz was an expression of the ideas of existentialism (according to researchers, jazz music was preferred by the young "lost generation" of the United States and Western Europe of the period after the First World War), in the fine arts of the twentieth century - a spokesman for the ideas of futurism and avant-garde (images of the grotesque and sarcasm). The controversy on the essence of jazz and its basic principles - freedom (improvisation) and dialogue - was conducted throughout the second half of the twentieth century among culturologists and sociologists in the field of musicology, in particular jazzology. In her dissertation study "The Influence of Jazz on the Professional Composer's Work of Western Europe in the First Decades of the 20th Century", M. Matyukhina substantiates the point of view that in the process of evolution, jazz acquired the features of postmodernity, or rather its basic principle as a game "as a way to isolate oneself from reality and the ability to decorate gray everyday life ... like a game of life. Throughout the twentieth century in philosophy and sociology there were also extreme points of view on the art of jazz as negative, Dionysian, generating chaos and leading to disintegration. These are the points of view of A. Losev and T. Adorno. However, the art of jazz is constantly in the process of evolution, being open to the social phenomena of the surrounding life and the movement of philosophical thought.

In the jazz phenomenon, by purely musical means, the substantial - vital for a person - idea of ​​FREEDOM is embodied. This idea, as the Russian researcher V. Erokhin notes in his research, "... is the core of the content and form of jazz art, its structural and semantic dominant." In no other sphere of artistic creativity has it been expressed with such force and persuasiveness until now. For an active and spiritually rich person, freedom is one of the highest values. Jazz art is a musical model of "controlled freedom". It should be noted that the jazz character of music is truly revealed only in real sound (not "on paper"), although the musical text can create certain prerequisites for this. In jazz, more often than in other forms of music-making, improvisation occurs, which gives each sounding composition spontaneity, individuality, and, when a new concept is applied to it, uniqueness. However, improvisation is not only freedom and individuality (personality), but also the ability to produce a large number of variants of a certain melodic construct, which develops creativity and heuristics. Specific for jazz creativity is the lack of separation between the composer on the one hand and the performer on the other, as well as the openness (defined as "existential communication") of this type of music-making for the listener, who can take part in the process of performing-creating a jazz composition through claps and other noise effects. Jazz art also allows you to organically combine both the aesthetics of entertainment and hedonism, and the mysticism of Eastern philosophy, pragmatics and "intellectualism" of Western rationalism.

In Belarus, jazz music sounded from the concert stage with the organization in 1940 of the State Jazz Orchestra under the direction of E. Rozner, and then thanks to the creative and concert activities of Yu. Belzatsky, B. Raisky, M. Finberg and other musicians, this type of musical art was further developed . Having repeated the first evolutionary stage in the development of world jazz (Western European and Russian) - existing in the field of the light genre - over time, Belarusian jazz overcame the entertainment level, turning at this stage into intellectual and even elite music. Bypassing the era of stagnation in which this type of art has been since the mid-1960s, existing only as background music (which was due to the political situation in the USSR), by the end of the seventies, Belarusian jazz joined a powerful stream of jazz festival movement that swept the entire Soviet cultural space that gave impetus to a new evolutionary round. Jazz moved to the stages of concert halls, becoming music to be comprehended (this transition in American jazz took place in the 1940s and marked the birth of modern jazz). At the present stage, there are two trends in the functioning of jazz art - this is a creative direction that develops the creative activity of big band musicians of the National Concert Orchestra of the Republic of Belarus under the direction of M. Finberg and various small compositions within this collective. Also, the search for something new is carried out in the creative activity of the Presidential Orchestra of the Republic of Belarus under the direction of V. Babarikin in the field of combining academic, jazz, rock and popular music, in concert performances and studio recordings of the musicians of the Apple Tea group and solo programs of P. Arakelyan and D. Puksta . On the other hand, there is an opposite tendency to preserve the jazz tradition, the so-called mainstream, which exists within the framework of festivals and concerts held at the Palace of Trade Unions as meetings of the Minsk Jazz Club of E. Vladimirov and performances by groups performing music in the style of early and late classical jazz - Dixieland "Renaissance" under the direction of V. Laptenok and "Nicks Jazz Band" under the direction of N. Fedorenko. There is also a constant exchange of musical ideas within the framework of touring concerts of Western (American as direct bearers of the tradition, European as a more experimental direction) and Russian jazz musicians. In the Belarusian musical art, attention to jazz is manifested among composers of the academic tradition. This type of interaction is in the nature of the author's conceptual understanding of genre and style idioms and the essence of jazz music.
Thus, Belarusian jazz is developing in the context of modern European jazz and at this stage is a means of expanding the cultural space of the Republic of Belarus.

Literature

1. Matyukhina, M. The influence of jazz on the professional composer's work of Western Europe in the first decades of the XX century [Electronic resource]: Dis. ..cand. art criticism: 17. 00. 02. M. Matyukhina - M., 2003.
2. Adorno, Theodor W. Selected: The Sociology of Music Theodor W. Adorno. - M.-SPb.: University book, 1998.
3. Erokhin, V. De musica instrumentalis: Germany.1960-1990. Analytical essays / V. Erokhin. - M.: Music, 1997.
4. Yaskevich, Ya. S. Applied Internet: Glossary of Terms: Study Guide. manual for graduate students and students of the advanced training system Ya. S. Yaskevich, I. L. Andreev, N. V. Krivosheev. - Minsk: RIVSH BGU, 2003. - 80 s.

CHAPTER ONE. PHILOSOPHICAL AND ART HISTORICAL

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 the racial and social component on jazz music.

Conclusions on the first chapter.

CHAPTER TWO. FUNDAMENTAL PROBLEMS OF THE MODERN ART 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 improvisational music.

Conclusions on the second chapter.

CHAPTER THREE. FACTOR OF PSYCHOLOGISM AND PERSONAL

REFLECTIONS IN THE DEVELOPMENT OF AFRO-AMERICAN FREE-JAZZ

ON THE EXAMPLE OF THE WORKS 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 Music of the 20th Century.

Conclusions on the third chapter.

Introduction to the thesis (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"

The history of jazz art has confidently crossed the turn of the century. From the standpoint of a global understanding of art problems, it should be noted that the development of jazz has demonstrated the phenomenon of an accelerated transformational process in art. Jazz music throughout its existence, often against the will of composers and performers, was built into fundamentally different sociopolitical and aesthetic fields, which significantly influenced its subsequent theoretical and aesthetic understanding: studies of this trend in music were "overgrown" with many figurative contexts, biased interpretations and stamps.

In America during the First World War, the development of jazz was accompanied by extremely aggressive "white" criticism, which, in fact, was part of a segregation machine that infringed on the rights of the "black" population. The attitude towards jazz in other countries was equally dependent on the political course of the authorities. Thus, Nazi propaganda and researchers working in the German state scientific apparatus used harsh racist metaphors and developed an anti-jazz policy, the goal of which was not to attack jazz itself, but to try to weaken the forces that used music for anti-Nazi protest. Certain strata of the protest-oriented population, who did not accept Nazi ideology, listened to jazz only because this form of cultural practice was condemned by the official regime. The semantic field of attitude towards jazz in Russia was just as multifaceted. It should be noted that Soviet listeners perceived jazz music through the prism of incomplete, mostly reduced and subtle ideas about Western life and capitalism. Listening to jazz on the air of Western radio stations "Freedom" and the Russian service of the BBC was a form of civic behavior in which undifferentiated, sometimes not fully conscious acts of nonconformism received their satisfaction. Just like in fascist Germany, in the Soviet Union the condemnation of jazz long time was a vestige of criticism of the foreign "foreign world" or internal political factions hostile to the regime. Published under I.V. Stalin's accusatory works "Music in the Service of Reaction" and "Music of Spiritual Poverty" considered jazz music as a product of the degeneration of the capitalist system. Over time, the situation has changed. According to the philosopher Andrei Solovyov, who comprehended the jazz avant-garde, avant-garde artists all over the world were looking for ways to protest the values ​​​​of the bourgeois world and consumer society, and for our compatriots, on the contrary, this was a way out into the bourgeoisie and the Western worldview.

The perception of the jazz substratum by musicians and fans of this genre, who lived in America in the twenties, in Germany during the Nazi period, in the Soviet Union and post-Soviet Russia, was founded by a significant number of social and personal codes. This music was characterized in various, sometimes ambivalent categories ("non-conformism", "musical rubbish", "racial product", "existentialism", "capitalist degeneration", "proletarian primitivism", etc.). With this in mind, it seems relevant and timely to clarify the socio-cultural codes of all schools and traditions of jazz performance without exception. It is essential to compare social data with data from the field of personal subjectivity that are important for the modern art history paradigm (musician reflection, latent and manifested moments of self-determination of jazz performers, etc.).

The object of the research is jazz as a sociocultural phenomenon, the subject is the status character of jazz music.

The main goal of the dissertation work is to establish how the direction of the development vector of modern jazz music depends on social, racial and socio-cultural processes. To achieve this goal, it is necessary to solve a number of tasks: to form a panoramic overview of the racial component in jazz music, maintaining the attitude that the African-American (as well as the "white") point of view opposing it does not suppress each other; to demonstrate the paramount importance of the African American substratum for the localization of the space of jazz music as such; establish and characterize the nature of conservatism in jazz; to reveal the specifics of the synthesis in the music of the world fusion (world fusion) and jazz-rock styles, as well as the New Age style, which has a close, albeit indirect, connection with jazz; to show the influence of socio-cultural processes on the existential and subjective perception of a musician, on his self-determination in creativity and in the surrounding reality (on the example of D. Coltrane's music).

The material studied was American music of the second half of the 20th century. Among the performers and composers, John Coltrane, Miles Davis, Wynton Marsalis, Don Byron are at the forefront of musicological and art criticism analysis. Into the scope of our scientific interests jazz artists Nils Wogram, Terence Blanchard, Nicholas Payton, Dave Douglas, Wallace Roney, Uri Caine, John Zorn (John Zorn), Anthony Davis (Anthony Davis), Misha Mengelberg (Micha Mengelberg).

The development of the theme. Currently, Western researchers are actively working to eliminate gaps and semantic gaps in the history of jazz musical culture. Over the past twenty years, American jazz studies have been enriched by a series of meaningful works, including studies by Kreen Gabbard (jazz poetics), Robert C. G. Mealy (Robert CT Mealy), Erik Porter (genre history, jazz and society), Howard Mandel (problems of jazz criticism), Samuel Floyd (analysis of African American origins in harmony and modal aspects of black music). Racial issues of jazz music are considered in the works of ethnomusicologist and psychoanalyst Gerhard Cubic. Authors such as Paul Chvi-gny and Charlie Gerard raised the legal aspects of jazz performances and club life, the problem of assimilation into the format of jazz subculture of performers with non-traditional sexual orientation. British researcher Geofrey Wills specialized in the psychiatric analysis of jazz individuals.

Of course, for a number of methodological important points foreign - primarily American, jazz studies have advanced a lot. Nevertheless, due to the specialization of the problematic approach to the above issues, numerous panoramic episodes remain still unexplored, not caught in the field of view of Western studies. For example, when modern American scholars view jazz in terms of racial centrism, the inevitable processes of "whitening" jazz are perceived by many African American figures as the loss of another position in the struggle for racial freedom. This is evidenced by the work of such African-American publicists as Stanley Crouch (Stanley Crouche), Amiri Baraka (Amiri Baraka), Kalamu Salaam (Kalamu Salaam).

A less radical researcher, Geofrey Ramsey, speaks of the need to apply only ethnomusicological directives to black music, pedaling the ethnic and racial denominator in the question of the method. Rumsey rightly believes that the reconstruction of the history of African American music, carried out with the help of traditional Western musicological methodologies, will be flawed. According to this scholar, musicology pays too little attention to social and ethnic aspects. He sees the expansion of the ethnomusicological perspective as a means of overcoming the problem posed.

The idea that jazz integrates a significant number of elements borrowed from the “white” Western culture is defended by our compatriot V.N. Syrov. In antithesis of Syrov's position, we can mention what is postulated in the works of interdisciplinary American researchers Geoffrey Cubic and Samuel Floyd. From their point of view, the authentic line in "black" music is very strong, which in turn allows us to speak of it in terms of original racial art, completely independent of the dictates of the ideas of "white" Western culture.

Of course, one cannot but take into account the fact that individual constituent elements in jazz are borrowed by African-American culture from the music of Europe (V.N. Syrov). However, we adhere to the thesis that jazz at the level of the basal substratum is a product of a "black" culture, which only later falls into a wider socio-cultural field, undergoing revolutionary changes.

In the area of ​​interest to which the attention of representatives of the Russian scientific school was directed, we single out the following areas: typological and contextual relations of jazz with the phenomenon of mass art (A.M. Zucker, E.V. Strokova); highly specialized consideration of the improvisational substratum in jazz (D.R. Lifshitz); the formation of an improvisational and compositional base (Yu.G. Kinus); the interaction of jazz with the composing tradition of the 20th century (M.V. Matyukhina, A.S. Chernyshov); evolution of jazz harmony (A.N. Fisher). The works of O.A. are devoted to historical and biographical reconstructions. Korzhova.

The problems articulated in our work are quite far from the scientific studies, the results of which are presented in the works of the above-mentioned domestic researchers. The systematic approach to jazz music implemented in the dissertation research is characterized by the consideration and evaluation of jazz in the context of musicological and art criticism categories formed within its sociocultural formation.

Methodological base. The theoretical and methodological basis of the dissertation research was an interdisciplinary corpus of works covering such branches of humanitarian knowledge as philosophy, musicology, philology, psychology, cultural studies and aesthetics. The philosophical aspect of the work is consistent with the positions of Jean Baudrillard (simulacrum phenomenon), Gilles Deleuze (reflections on style). The musicological part gravitates towards the positions generalized by E.S. Barban, as well as certain provisions of scientific research by Derek Scot and Theodor W. Adorno, Karlheinz Stockhausen and John Cage. In psychological problems, we follow the works created by representatives of transpersonal psychology (K. Wilber, S. Grof), psychopharmacology and psychiatry (Ronald Laing, Albert Hofmann, I.Ya. Lagun). The philological segment of the dissertation is correlated with texts by Douglas Malcolm and Charles Péguy.

In the dissertation, methods of generalization and systematization were used, which are updated in the process of understanding jazz as a sociocultural phenomenon. In studying the problem of transforming normativity, we used descriptive and analytical approaches. Consideration of the works of jazz composers and performers required a musicological analysis, as well as an appeal to system-structural and comparative-typological methods.

The scientific novelty of the dissertation research is:

In the interdisciplinary consideration of jazz as a sociocultural phenomenon; in the significant development and specification of the category of jazz normativity (the term of E.S. Barban), through which the criterion of genre boundaries is determined; in building a system of relationships that have developed between jazz music and postmodernism.

This dissertation is the first Russian project, within the framework of which they get an understanding of the problem of synthesis of jazz with the latest stylistic forms of Western music - new acoustic music (New Acoustic Music), electronic style ambient (Ambient) derived from minimalism and a form of New Age music subordinate to the synthesis paradigm (New Age).

The paper attempts to comprehend the figure of the greatest jazz innovator, John Coltrane: the contradictions of the later work of this musician, due to external social processes remote from the jazz subculture (spiritual self-determination and life choice of a generation of Negro jazz performers, which has developed against the backdrop of drug addiction of the black population).

The following provisions are put forward for defense:

1. The space of jazz can be localized and singled out exclusively as a series of specific racially and ethnically determined forms of improvisational presentation.

2. The development of the processes of jazz conservatism in the eighties of the XX century. and the emergence of the neoclassical post-bop style has not only artistic, but also socio-cultural causality.

3. If jazz as a genre phenomenon is localized in the categories of music-making developed from the basal practices of African and Afro-American cultures, then avant-garde jazz is only experimental improvisational music, which no longer comes into contact with the original Negro tradition.

4. The nature of the synthesis in the music of styles: world fusion and jazz-rock, as well as the New Age style - having a close, albeit indirect, connection with jazz, must be sought in the processes of musical postmodernism. On a broader panoramic level, fusion should be classified as one of the forms of world globalization - a unifying process that blurs the differences between systems of ethnic cultures in favor of some generalized result.

5. We define the process by which established jazz assimilates new forms in terms of transforming normativity. The adoption of bebop by jazz society (critics, musicians and listeners) can actually be qualified as an act of normativity, which in this case was widespread with early forms archaic and transitional jazz to bebop.

Scientific and practical value of the research. The results of the work can be used as an auxiliary educational material in the courses "Mass musical genres", "Contemporary music", "History of music". In particular, the educational and methodological electronic video aid “Piano Jazz Styles” created on the basis of a dissertation research has become relevant for classes in the “History of Jazz” course: a training video course (Krasnodar, 2007. 6 episodes of 60 minutes each).

The general conclusions of the dissertation work are useful for performers and listeners who seek to penetrate into the deep meanings and subtexts of jazz as a sociocultural phenomenon. Separate provisions can find a rather diverse application in the scientific developments of the musicological - and more broadly - art history profile.

Approbation of work. The dissertation was discussed at the Department of Musical Media Technologies of the Conservatory of the Krasnodar State University of Culture and Arts, as well as the Department of Music Theory and History of the Rostov State Conservatory (Academy) named after. C.B. Rachmaninov. The main provisions of the work, reflected in 12 scientific publications of the author, were reported at international, all-Russian and regional scientific conferences in Rostov-on-Don (2002), Krasnodar (2005-2008) and Moscow (2007).

In addition, the issues considered in the dissertation research were presented on such websites developed by the applicant as: http://www.iazzguide.nm.ru (2005); http://www.kubanmedia.nm.ru (2005); http://existenz.gumer.info. (2007).

Work structure. The dissertation consists of an Introduction, three chapters, a Conclusion and an Appendix. The bibliographic list includes 216 titles, including 68 sources in English.

Dissertation conclusion on the topic "Musical Art", Shak, Fedor Mikhailovich

CONCLUSIONS ON THE THREE CHAPTER 1. Like any other form of art, jazz has a complex, sometimes non-linear form of development. Its formation is determined by social, political, racial, existential and cultural codes; a significant number of passionate individuals “wounded by the arrows of changing being” took part in the creation of this music. Accordingly, a one-sided approach that integrates only one research facet, whether it be a biographical method that requires strict methodological clarification or a historical study based on social characteristics, will suffer from the incompleteness and subtlety of the revealed meanings.

2. The thinking on which the framework of John Coltrane's improvisations was built is innovative for its time. The appearance of this musician on the jazz proscenium opens up a fundamentally new layer in the development of jazz art. It can be argued that the contribution made by Coltrane to the development of improvisational music gave rise to a specific systematics, since, speaking about the improvisational thinking of young jazz saxophonists, it is necessary to talk about performers of the pre-Coltrane period and musicians of the post-Coltrane orientation. Coltrane's work represents a kind of watershed separating the complex, intellectual, modal-filled modern jazz from its now classical predecessor.

3. To replace the shared by artists of the XIX - early XX centuries. Natural mysticism, drawing inspiration from Mithraic symbolism, the schizoid constructions of early Gnosticism, and the extraordinary symbolism of Hermeticism, received a completely different basis of worldview beliefs. At its core, this basis, which is typical for musicians of the free jazz scene, as well as for new composers (in particular, representatives of neoclassicism and minimalism), had a predominance of rational and contemplative approaches in understanding the processes of mental, cognitive and creative functioning, contemplation of pure psychological efficiency and gravitation towards transcendental hedonism.

4. Under the contemplation of psychological effectiveness, we mean a sequence of actions that combine the use of psychopractice methods (meditation), the use of hallucinogenic drugs and subsequent reflections on the subject of experienced emotional sensations, including being in unusual emotional modalities or encountering unexpected mosaics of unconscious imagery. In some cases, the results of comprehension of the processes of reflection were transformed by musicians into original artistic techniques of performance and compositional writing.

5. The factors through which Coltrane exercised his self-determination are ambivalent and syncretic. They diverge from the basic meanings on which the African-American orthodoxes built their self-identification. Thus, in the music of Coltrane's "I love supreme" disc, Christian connotations are clearly traced, the existence of which, with certain reservations, can be called close to the "black" African American culture. On the other hand, you can't deny Coltrane's orientalism. The material of his records "First Meditations", "Meditations", "From" reveals conjugation with oriental material. As a result, the musical statements of a jazz artist resemble the direct speech of a European person who, for the first time, faced with samples Eastern culture, tries to describe his impressions, while using a dictionary available to the interlocutor. However, relying on words and definitions belonging to his native culture, he thereby inevitably transforms and distorts the original object, the sensations of which he is trying to formulate.

6. Later, Coltrane's work was subjected to evaluative destruction. The “spiritual” period of the musician did not fit into the paradigm of “black” music created by African-American researchers. At the same time, almost complete consensus was reached in the assessments of the early and intermediate period of creativity. In contrast to this, the solo Coltrane of the earlier pre-avant-garde period (1956-1964) is characterized by a significant number of researchers and musicians in terms of absolute innovation. However, Coltrane's avant-garde atonality, which gained momentum after the epoch-making “I love Supreme” disc of the year named by Down Beat magazine, received completely different, in some cases more restrained, assessments.

7. The artistic period of Coltrane's creativity, which unfolded from 1964 until his death in 1967, which followed in connection with liver cancer, is a unique precedent not only for African American, but also for world jazz in general.

CONCLUSION

Jazz is the music of the twentieth century. Music that fully repeated all the twists, ups and downs of both art and social processes of a bygone time. Does this mean that the era of jazz has passed, that formally its history has remained in the past, in the past historical scenery? Is the talk of the death of jazz justified?

Speaking metaphorically, it should be said that in the musical organism of the 20th century jazz played the role of a kind of nerve endings. In the twentieth century, nerve impulses were transmitted with enviable speed and speed, but no one has the power to go against natural and cultural entropy: as ancient philosophers said, everything that has a beginning has its end. Nerve impulses of jazz recent decades became more short-term, slender and anemic. At the same time, it is still too early to talk about the complete aesthetic lifelessness and constancy of the genre to which our dissertation research is devoted.

In jazz, there is considerable space for a significant recombination of already existing ideas and styles. In the eighties, a new style made itself felt, called "M-base" ("M-Base"). The style was formed by the gifted saxophonist Steve Coleman, and then supported by such creative performers as Greg Osby, Gary Tomas, Cassandra Wilson. MC presented the jazz community with a fairly viable symbiosis. Within its framework, the performers tried to combine the rhythmic of Afro-American funk and hip-hop styles with developed improvisational sets that are not inferior in their semantic content to the best examples of post-bop. M-bass could not have the same significant impact on the development of the genre as, for example, jazz-rock. However, it certainly can be called a clear proof of the vitality of modern jazz.

As an antithesis to the work of ardent avant-garde artists, who consider it possible to develop jazz only in a non-tonal aleatoric space, let's turn to the magnificent recording of "Inspiration". The album, released in 1999 under the name of African-American saxophonist Sam Rivers, can be called a verified development of modern jazz ideas, which, and this is the most important) does not cause doubts in its genre classification

An impressive ensemble of soloists works within the framework of "Inspiration" in the most interesting conceptual space. The album uses proven jazz schemes, but due to the combination of elements that are uncharacteristic of each other - funk rhythm, ostinato structures in wind brass, uncompromising, sometimes modal vocabulary of soloists, controlled heterophony, as well as violations of orchestral subordination, in which more than five successive solo statements get the right soloists, - "Inspiration" falls into the category of masterpieces of modern jazz. The most important thing here is that "Inspiration" does not borrow or utilize anything extraneous from jazz music. In this release, we see how the ideas developed over the past 50 years in "black" music are uniquely recombined, forming in the end into a fundamentally new, fresh-sounding material. "Inspiration" does not gravitate towards collective atonality and aleatorism, instead getting novelty due to the recombination of techniques already existing in jazz. It is this music, but not divorced from the avant-garde jazz paradigm, that we would like to call authentic modern jazz 23.

However, to what extent are the reserves of jazz material that can be developed by recombining constituent elements? Are there artistic metaphors and new creative techniques, with the help of which the material already existing in conventional normative jazz can be changed and enriched? It might sound bold and presumptuous

22 Characteristically, the Inspiration material was produced by the same Steve Coleman (creator of the MBs style).

23 For a more complete acquaintance of readers with the material of the disc “Inspiration”, the Appendix contains a review of this disc, written by us in 2004. but, but we consider it possible to answer this question in the affirmative. The search for new methods and fresh metaphors for jazz improvisational thinking must be sought in other areas that are distant not only from jazz, but from music as such.

In the Soviet period, Efim Barban made quite bold for his time attempts to substantiate the problems of jazz vocabulary and the normative aspects of improvisation through the prism of metaphors of linguistics, aesthetics and philology. Regardless of E. Barban, an attempt to implement such schemes was also made by Western philologists. In particular, the Canadian scientist Douglas Malcolm, who analyzed the relationship between literature and jazz, as well as Alan Perlman and Daniel Greenblatt.

The interest of philologists in jazz music is quite understandable, because jazz improvisation reveals elements characteristic of the act of verbal communication. If any notated work, as a rule, has a monolithic structure and system of meanings, then jazz is music that has a developed communicative resonance. The interaction of soloists with each other, mutual support, the development of a dialogue based on a predetermined set of signs, which, however, is unique for each act of speaking/improvisation, carries within itself a dense system of semantic attributes, whose functioning and semantic markers are definitely close to the rules and logic, implemented in verbal communication and language architectonics.

Despite the respectful attitude towards the philological studies of Barban, Malcolm and Pelerman, let us pay attention to a certain narrowness of their approaches. In the works of these scientists, jazz is analyzed in the system of philological and semantic coordinates. The space of jazz is described by them in an uncharacteristic sign and conceptual system. We, on the contrary, offer an act of feedback communication through an appeal to the language of literature.

Philosopher Gilles Deleuze admired the French writer Charles Péguy, considering the style he created the greatest achievement in French literature. This is how Deleuze characterizes Peguy's style: "he makes a sentence grow from the middle: instead of sentences following one another, he repeats the same Dice sentence with a small addition in the middle, which, in turn, gives rise to the next addition, etc." . It is quite obvious that the improvisational vocabulary characteristic of post-bop cannot develop in the categories of dominance of atonality and complete retreat into aleatoric without harming itself. The confident convergence of individual improvisers in areas far from jazz normativity leads them to the final loss of everything jazz. However, the jazz lexicon can be developed without abandoning it completely. What will happen if a young, free-thinking jazzman tries to use the aforementioned thesis of Deleuze as the central attribute of improvisation?

There are many influential performance styles in the jazz world that require unorthodox revision in the categories used by Charles Peguy. A bright recipient for the transfer of Peguy's stylistic algorithms to the field of jazz improvisation is the piano style of Telnius Monk. Monk's improvisational style has attracted a number of avant-garde pianists, including Anthony Davis and Mischa Mengelberg. It is not difficult to guess that in Monk's music, informal-minded musicians were primarily attracted by the possibility of style conversion. The model of jazz pianism created by Monk is extremely malleable for subsequent changes, new accents and additions of a polyrhythmic, modal and even polyphonic nature. The exquisite development of this musician's style in the realm of unorthodox modal and post-bop components can be seen in the underrated pianist Andrew Hill24. In turn, in creativity

24 See Andrew Hill's albums "Black Fire", "Passing Ships" by another pianist - Ethan Iverson, the translation of Monk's stylistic systematics into an area remotely close to the canons of modern polyphony attracts attention. Against this background, it is rather bleak to state the almost complete absence of a qualitatively higher rethinking of Monk's jazz heritage by avant-garde artists Mikhail Mengelberg and Anthony Davis. Both of these musicians couldn't come up with anything but a clash between the heavy percussive aesthetic of Monk's improvisations and unexpected atonal "sonic duds". The avant-garde camp, apparently, could not offer another, more detailed look at the great style of Monk.

In our opinion, Thelonious Monk's musical baggage needs a new reading. And such a reading can only be made on the basis of unorthodox ideas. Monk's style is fully applicable to the categories characteristic of the literary style of Charles Peguy praised by Deleuze. Monk's improvisational style is, perhaps, the only one among the other stylistic solutions developed by the boppers, which can be reviewed from an evolutionary perspective. Monk created something amazing, a kind of constructor for an improviser. It seems to us that this constructor requires the translation of new coordinate rules into the system. If jazz youth managed to revise the Monkian language using the systematics described by C. Peguy (meaning the unexpected germination of one of the already played phrases in the space of another, with a kind of unforeseen prolifcations), this could be called a breakthrough in the jazz language. Monk needs more structure, translation through the improvisational language he created of another of the same language, which would be endowed with new attributes and meanings.

25 A modern polyphonic approach to T. Monk's music we could hear in Daniel Berkman's Jazz Solos program, broadcast by the French channel Mezzo, where Ethan Iverson performed the composition "Toronto typcal".

An additional stimulus for the development of jazz thinking, in our opinion, is extrapolation into the jazz space at the level of metaphors of elements from the field of Gestalt psychology. Recall that Gestaltists use complex illustrations that contain two drawings that are in a state of mutual overlap. An outside viewer, analyzing the illustration presented to him, immediately selects one pictorial layer, and only then tries to find the second latent illustration in what he sees. In turn, finding this illustration directly depends on the intensity of the viewer's cognitive activity, as well as the temporal reorientation of a number of analytical mechanisms. Gestalt approaches are fully applicable to both the perception and creation of music. Thus, an improviser can develop a bidirectional technique of playing, within the framework of which two rhythmic lines will be developed, with the first of these lines concealed by the second. The attention of the listener in the process of perceiving the solo can be reoriented from one rhythmic layer to another. In our opinion, the forcing of polyrhythmic structures in the post-Bop language can be considered as one of the tools for lexical renewal.

The sum of ideas, formulated by us above, is only a rudimentary conceptual material that requires a gifted passionate embodiment. Probably, jazz will live as long as the minds of new generations of musicians develop such ideas, multiplied by the need to create new symbioses and introduce new practices. At the same time, young people should not forget about the boundaries of music. Jazz is already a formed, established phenomenon. Experimental performers who co-compose improvisational technique with forms distant from jazz may, without realizing it, converge into other (non-jazz) areas.

The misfortune of many musicians is an attempt to grossly improve jazz by introducing new forms into it. Attempts to combine jazz with minimalism and ambient, as well as other style decisions drive? the emergence of some new, "third" form of music, which (to all intents and purposes) has little viability. In our opinion, it is possible to avoid the mistake: it is possible only if the improvised language itself is revised, but by no means the entire hierarchy and system of rules characteristic of d: as a whole. Unfortunately, a significant number of avant-garde thought! continues to think in line with the complete overcoming of the rules and attitudes d:

Tired Western European culture, represented by the European avant-garde, repeatedly tried to rework jazz forms and integrate them into the< стово ложе своих культурных архетипов. В каждом отдельном случае, то перформансы Луиса Склависа (Luise Sclavis) или неординарные гг«

Han Bennik, jazz was losing its face. Such contemporary Pey ensembles as the Vienna Art Orchestra and the ECP Orchestra have moved into postmodern contexts, doing not so much J; music, how much the combination of forms and endings that are far from each other, capable of arousing interest in a bored aesthetic public, this whole theater is actually designed for. The activity of the “London composers orchestra” associated with the leadership from the very appearance of the stake satisfied the personal ambitions of its creators rather than a contribution to the development of jazz music. The same can be said about schizoid; an hour of secondary discoveries by other masters of the new improvisational

So, is jazz alive? It should be understood that it is impossible to look for an answer to this> in obvious processes. The status of jazz cannot be clarified by the personal factor of festivals and concert performances. Children's performances, festivals and competitions in America, Europe, and now-r^b^

And Russia pass regularly. However, the very existence of a concert and festival

Ilnoy activity speaks only about the functioning of the business, the infrastructure that supports them. The performance of the music of Beethoven and Chopin on the stage takes place as often as the performance of the jazz music of these composers - there is a monolithic past that

Ktury, zya change, can only be relayed. Does something similar happen in jazz?

M-bass experiments of New York jazzmen; Matthew Ship's (MaShelu BYrr) interaction with electronic instrumentation and repetitiveness carried over into the realm of jazz; a new revival of jazz-rock in terms of a normative style unit - all this tells us that creative and aesthetic processes inside the jazz space do not stand still. They are not as active as before. They will no longer be able to provoke a new cultural revolution, as it was in the post-war period with bebop. However, it is clear that the Jazz Age is not over yet. Without a doubt, the sociocultural paradigm of modern jazz makes both the aesthetic space of the genre itself and those who are in it dependent on economic processes. The path of innovation, artistic freedom is fraught with risk, ostracism and life's dead end. On the rise of revolutionary protest and self-expression, the "black" intellectuals of the forties came up with bebop, thereby raising jazz art to a fundamentally new level. However, today's post-industrial consumer segment of history is a completely different time. There are much fewer plans for a revolution in art, and jazz itself is increasingly turning into a constant professional performance.

At the same time, according to the teachers of jazz performance of the old and new worlds, quite a lot of motivated young people still go to the field of jazz education. They are not stopped by the low prestige and lack of economic guarantees that are so characteristic of the profession of a jazz musician. These people, as is typical of a certain age, maximalist, virginal and unbiased perceive those creative potentials and that inner existential freedom that jazz music bestows. And we sincerely hope that the passionarity and purposefulness of modern youth will help them create new samples of music, which we can proudly call Jazz.

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

History of the development of jazz

Wilex College Jazz Band, Texas

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

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

new orleans jazz

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

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

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

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

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

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

Big bands

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

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

northeastern jazz

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

Louis Armstrong

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

Kansas City Style

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

West Coast Jazz

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

The Spread of Jazz

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

Dave Brubeck

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

Jazz in the USSR and Russia

The first in the RSFSR jazz band of Valentin Parnakh

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

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

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

Jazz Club "Blue Bird"

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

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

Jazz in the modern world

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

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

Jazz is a unique phenomenon of musical art.

Once, someone asked me:
Is jazz really music?
I was so shocked that I couldn't even answer. Time flew by. Life changes, people change...

— Jazz is a unique phenomenon of musical art…

A very long time ago, when notes 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 is the composer of music, the second is the performer, and the third combines these two concepts and the author and performer in one person.
Composing for music, we will call compositions, is based on the principle of a long process that realizes the creative impulse directly in sounds, which is later recorded as a finished work.
At the heart of the performing arts are the functions of the performance itself, based on the principle of developing a large amount of musical memory, as well as the development of virtuoso technical techniques of performance.
But the third principle, combining both performance and composition in one person, should 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 debatable. Because there are examples when the composer had a poor command of the technique of performance and did not know how to improvise, but wrote unique, virtuoso works. And vice versa, a performer who knows how to perfectly improvise on ready-made standards of melodies and harmonies has not composed even a single piece, even the smallest one.
This short introduction is necessary to understand some things, which I will talk about a little later.
So much has been written about the development and history of jazz that it is already very difficult to add anything. But still, it is worth repeating somewhere, and somewhere focusing on those things that sometimes fall out of our attention. Or it can turn the awareness of the significance of certain elements of jazz, as a unique phenomenon of the musical art of the 20th century, into some new direction.
Understanding perfectly well that each element of the life process has its own time, I cannot say that academic music is alive and well, rock music too, not to mention the world treasury - folklore. But who's to say that jazz is already dead?
The major musical cultures that created unique, powerful masterpieces will remain in the future development of the earth - forever. Moving away from the major themes of the entire world musical culture, I would like to ask myself the question: - what makes jazz different from everything else?
To do this, we need to go back and analyze one important question: what kind of process is improvisation? This need is called for some future connection and conclusion.

So, improvisation. Musical improvisation is much older than musical composition. Improvisation is an Italian word, but derived from the Latin - "improvisus" (unexpected, sudden). This is a special kind 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, which manifests itself in various forms. Improvisational types of creativity also dominated the territory of Europe and began to gradually lose their positions, starting from the (appearance of an early notation system) of the 9th to the 16th centuries. During this critical period (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 being performed in public. But with the advent of the so-called century of musical notation, it was the 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 global importance, and improvisation disappears from the concert stage. Is it good or bad? Here you can express thousands of assumptions. But we will leave this conversation not for this context for now.
So, the written method (notation) - carries a new concept of musical art, other aesthetic criteria, a different creative psychology, other auditory qualities, new methods of professional training. And naturally, written traditions have led to a more perfect method (fixation) of the music itself and a more accurate chronology of musical history. In the bowels 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 viewed with particular hostility, as a manifestation of sheer illiteracy and charlatanism. And at the end of the 19th century, it was practically forgotten completely. Although we know for certain what amazing improvisers were: Bach, Mozart, Chopin, Liszt, Scriabin, Rachmaninoff... But still, the age of improvisation as a historical process for the common European musical culture is over. 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, after all, know the history of the formation of young America better than you and me. Therefore, I will direct my thoughts in a different direction. To put it simply, different people flock to America, naturally representing different musical cultures, mainly 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, mostly Indians, are being displaced. Here, many drew attention to one important detail.
People from all over the globe began to flock to America to earn a lot of money in this young country and thereby change their lives 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 some new subculture, “somewhat” different from European culture. What am I getting at?
The tale that black slaves gave birth to jazz is not entirely plausible, and moreover, extremely harmful.
The struggle of black Americans for their rights is respected. Historians, who saw some social roots in this, began to frankly juggle the facts, namely, the structural elements of the new musical subculture, because they themselves did not understand anything about this at that time. And immediately after this, Europe responded, and later the Soviet Union, and it went and went. The most simple logic in those distant times was not appropriate. But still, even in those distant times of the beginning of the 20th century, progressive scientists wrote more than once (but somehow they didn’t pay attention to it, or didn’t want to pay attention, all sorts of revolutions were too fashionable in those days, and the struggle for social right), that in Africa, jazz, somehow, was not born, did not even take root. Yes, and in India to a greater extent - too. Although it can be said for sure that many Indian folklore rhythms are absolutely 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. So it is. How would the school itself and the social environment for this martial art be formed in Japan. But what is the way to get this, let's say, exercises, to the Japanese islands. And everything is simple. From India, the road lies to China, then to the Japanese island of Okinawa, which in those days was still Chinese. So what about these factors?
Let's go back to the end of the 19th century. Europe was enjoying the art of the great musical masters. That cost only one - Chopin. And what about 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 a natural continuation of it.
My thoughts will be based on very simple concepts and comparisons, as well as freely stated phrases from some works, in order not to lead you into some kind of fornication with theoretical terms, I still remember many of them. But, of course, we will not completely abandon the terminology, since it often carries a conglomerate of concepts that are difficult to lay out in one sentence.
If you want to travel with me, I will be glad. If you want to get out of the way of my thoughts, close this material.

So. The confluence of historical events, the interweaving of destinies, the social environment, the synthesis of cultures, this is only a small component of the prerequisites for the generation of a new musical subculture. Yes. You can talk a lot about who was the first performer of a particular musical direction. 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, you can’t go anywhere (“you’ll fall in love and get married”), and yet all music is based on three, as they say, whales: melody, harmony and rhythm.

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

Harmony.
Harmony in its classical sense is an element of music inherent in the main European direction. In the new musical subculture of the beginning of the 20th century on the American continent, the process of development of harmony took place with the very process of composing, playing music and is associated with those expressive means that the musician wanted to express at the moment. In jazz, harmony is inherent in linear (consistent, diatonic), this structure of the sequence of harmonies is characteristic of the folk music of many European peoples and not only them, although not all jazz works are such. A vivid 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 here are seventh / sixth chords - that is, the coloring of these chords is already characteristic of jazz itself): I-IV- I-II-V-I (intentionally put instead of IV - II step to remove the talk that illiterate Africans used the turn of the V-IV step, the harmonic turn forbidden 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 cycles 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 measures to eight measures (an absolutely European system of shaping) due to the simple repetition of a four-bar line of a poetic text. In 1965, the master, bachelor, teacher of the Juilliard School, John Mehegan, published a work using a digital harmony designation system (general-bass - “general bass”, which has existed for 200 years in European musical culture), thereby accurately and fully displaying the entire system of organization harmony in jazz, drawing a parallel between the origin of jazz harmony and classical. But I want to emphasize that triads are practically not used in jazz, but chords are used, at least four sounds.

Rhythm.
In the area of ​​rhythm, jazz musicians have made the most significant advances. “It is the rhythmic qualities of jazz that fascinate many people around the world and have become emblematic of the sound of jazz.” But the rhythm organization based on standard meter and time signatures 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 folklore rhythm model of various non-European countries. This applies to pan-Asian countries, Turkey (sakal ...), India (detsy-talas ...), Bulgarian, Russian rhythms and naturally rhythms 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 rhythm organization takes place, which does not lend itself to any musical notation. Although this controversial issue. You can record everything... I don't want to talk too much about shuffle, drive, cross-rhythm - all this can be combined with the word swing, but this is also a conditional name and naturally it is impossible to combine all the concepts of jazz rhythm organization with this word, 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 the romantic composers of the late 19th century already had a growing tendency towards some kind of free-dynamic accentuation against the metrical function of the beat . It was already a kind of swing, but more free and sophisticated. However, the jazz rhythm started new era rhythm organizations of the 20th century.

Following the logic of my reasoning, it becomes clear that no one in those days created anything supernatural, and it was not necessary. 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 century on the American continent led to the birth of a powerful musical direction - Jazz, which became a match only for academic musical culture. At the same time, the use of European musical instruments, including even percussion, 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. Modifying, these three whales still remained fundamentally fundamental in jazz. But jazz would not be jazz if you and I nevertheless let go of the element that is its core in jazz - this is improvisation. Eighty percent of jazz music is improvisation. Without improvisation, jazz, such as we have today, would not exist at all.
But back to improvisation. You and I already know that at the end of the 19th century, improvisation in academic music was viewed with particular hostility. But on the American continent, by and large, at the end of the 19th century, academic music, to put it mildly, was treated coolly.
But... But still, many pieces of music and songs of that time, even such as: early ragtime, country music and beginning blues, were played without the possibility of improvisation. They just learned.
But how did the process of returning improvisation to musical culture, even a new one, begin?
Improvisation, as an art form, requires special talent, which distinguishes an improvising musician from a musician who only reads notes.
An improviser must master the material of his art: musical form, melody, harmony, rhythm, texture, polyphony, etc., no worse than a composer. That is, the prerequisites for the revival of improvisation are the emergence of people (musicians-improvisers) 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, which is 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. Given the significant number of operations performed by an improviser, it should be noted that most of the skills should be automated, since the consciousness of a musician at the time of improvisation is mainly occupied with the search for the development of musical thought. Each improvising musician must have an "elementary musical complex":
1 ability to emotionally respond to music;
2 modal (harmonic) feeling;
3 sense of shape;
4 auditory representation;
5 rhythmic sense;
6 the ability to analyze music in the process of performance and predict its development.
This is the minimum that an improviser should have.
But still, I would like to take a closer look at the two main factors of an improviser, which we already know:
1) composer apparatus;
2) executive apparatus.
Musical improvisation is a form of productive artistic activity that results in a new work or a new version of an existing musical theme. The main tool for this is creative thinking. The work of the imagination and the management of acquired skills is central to creativity. When creating a work, the composer solves mental problems of an analytical level to a certain extent, 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 the so-called artistic-figurative 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 have a performing apparatus no less than a composer's. The performing apparatus differs from the composer's. In the language of philosophy, the performer contemplates. And if we turn even deeper into the fabric of the artist's creative process, then he, as it were, refines, contemplates the composer's activity, turning his theme (work) into a complete highly artistic image. This means that the type of thinking (reproductive) and its derivative, a highly organized type of imagination, are considered as the main element of the performer. And of course, it has already been said that the improviser's mastery of performance is based on the principles of developing a large amount of musical memory, as well as the development of virtuoso technical techniques of performance.
And so these two global images, two directions of musical thinking and skills united into a certain substance that gave rise to a completely new generation of improvisational musicians, thus 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 the improviser lay in the plane of the so-called paraphrase improvisation, that is, improvisation of the appropriate variability, embellishment of the melody, a small variety in rhythms, etc.
Further, the musicians' improvisational skills developed and resulted in a certain system of linear improvisation. This system of improvisation dominates, practically until now, but naturally, 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 composing a new version of a melodic line on an existing harmony, theme, form, or maybe only on 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 improvisation 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 kind of 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 partnership with a trained musical talent endowed with the capacity for imagination.
These little crumbs of knowledge of the improvisational apparatus of a musician I present in this work, knowing, of course, not in full, 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 short digression into the history of improvisational art. This is extremely helpful. Very little is written about this. But who does not want to read this, or knows this material, you 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, which have come down to us, taught: "one must sing according to one's own intuition." In the philosopher Boethius of 480-525 we meet the words: “but he who cannot sing pleasantly still sings to himself”... In the 7th century, the time of spiritual chanting comes. At first, the church did not exclude improvisation. At the moment when it was necessary to compose something instantly, the singer naturally used his improvisational skills. The Gregorian traditions of the 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, in musical treatises on the art of music, the word improvisation is more and more often encountered, as a forerunner of written creativity. Apparently, the musicians of that era were already thinking about the very phenomenon of improvisation. The outstanding reformer of musical pedagogy and musical notation, Guido Aretinsky, puts forward a method of composing based on chance. This is very similar to what would be an improvisation on letter (or number) harmony in today's game. But in this kind of spontaneous composition proposed by Aretinsky, the system of modern academic composers working in serial and aleatoric composition is most visible.
In the 12th-14th centuries, the manner of improvisation of minstrels, jugglers, stud men 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, chants and ensemble improvisation, which is confirmed by the words of the chronicler of the Burgundian court:
"and silver trumpets, six or more, and other minstrel trumpets, organ players, harp players and countless other instruments - all made such a noise with the power of their playing that the whole city rang." Forms, methods and methods 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 was 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 foburdon, became widespread in Europe. This is essentially a kind of mixed form, where the extreme voices were composed and the middle one was improvised. But in the 15th century, another principle of improvised polyphony appeared - imitation ...
In the Renaissance of the XVI-XVII centuries, the 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 possession of a whole system of techniques, that is, a real school. The art of improvisation itself was also universal, covering not only music, but also poetry and dramatic art. From the maestro (as the musician or poet-improviser was called) they did not demand the repetition of a memorized and specially prepared work, but the skill of improvisation, that is, always introducing something new. Not just a 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 it is expressed in the harmonic thinking of the modern musician-improviser.
Another variation is the variation of new motives and phrases that transform the melodic line (horizontal line). This is now called linear improvisation.
Renaissance instrumental music puts forward an additional variety - "free" improvisation. This is already the texture-motor aspect of improvisation, leading to the first independent forms of prelude, toccata, etc. Now it would be called spontaneous improvisation, but on a well-defined basis.
Another variety of passage, ornamentus, or diminuetion, is developing - ornamental models of improvisation, i.e. improvised decorations. Now it would be called paraphrase improvisation, not exactly, but still ...
The next stage in the development of musical culture (XVIII-XIX centuries) was the process of excluding improvisation from performing arts. The art of improvisation becomes the lot of individual performing composers (organists, pianists, violinists…).
So that's what happened. Such is 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 of the options for the point of view on the process of improvisation itself.
Improvisation is based on certain types of memory. The improviser creates musical matter from some ready-made blocks, once 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 coloration and the higher the artistic image of the canvas itself. This process is based on the regulatory will and taste of the performer. Improvisation is fixed in memory as a memorable musical event, the value of which is not only in intonational quality, but in its uniqueness. Models (tonemes), turns that arose during this musical act are collected, 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. As early as 1753, in the work “The Experience of the Correct Way of Playing the Clavier”, a methodology for teaching the technique of improvisation was demonstrated. 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. The young Weber systematically practiced the technique of improvisation under the supervision of Abbe Vogler. Each major musician developed his own method of mastering the improvisational art. This was connected with individual performing and composing techniques 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, diminuetions, a more detailed and developed school of rhythm, harmony; it is necessary to study the relationship of memory to accidents, the polystylistics of improvisation, etc. But the process has started and is going well.

Let's summarize.
In early jazz we have such concepts as rhythm, harmony, melody, improvisation… These concepts have purely European roots, as I have outlined above. Instruments in early jazz: brass, piano (or banjo), double bass, percussion. These are European instruments, not counting, perhaps, the banjo and the drum kit, which developed and developed over time, and later the saxophone appeared. What has already changed in modern jazz? The base has remained the same. In musical terms, jazz has developed and lives polystylistics. An electric guitar was added to the instruments (by the way, in 1936), later a bass guitar, keyboards (synthesizers), various instruments of a symphony orchestra and ethnic instruments of different nations were added.
And yet jazz is a kind of completely new substance, it is a new unique art born in the 20th century.
What is it connected with?
But before we turn to the musicians themselves, without whom this direction would naturally not exist in modern musical culture, I want to analyze a little the very musical fabric of jazz.
How did jazz begin to differ from the entire musical culture in the late 19th and early 20th centuries? Here we must understand that the infrastructure of academic music in America was insufficient and underdeveloped for many reasons. This is where everything just started. The filling of the vacuum of musical culture was naturally replenished by the ethnic musical cultures of the peoples inhabiting this country. And, especially since everything is mixed up here.
1. Naturally, the folklore styles of different peoples personified in most cases the so-called small forms. These were practically songs and instrumental pieces, most of all of a dance character.
2. Further — minimization of tools. If the cities still had musical instruments: piano, double bass, wind instruments, violins, European percussion instruments, then country instruments were: harmonica, some small percussion: bongos, maracas, maybe even a kind of rural violin ...
3. The style of music, first of all, personified a certain symbiosis of ethnic song and dance trends of non-European and European cultures. This was expressed, first of all, by the introduction of peculiar elements characteristic of the musical cultures of different peoples into the musical fabric of the same songs, or dance pieces. Moreover, social roots also began to influence the musical fabric of the emerging new musical art. It all came from life itself, from its way of life, social and economic base ... Also, rural (country) music had a great influence on urban musical culture and vice versa.
4. And of course, since we are talking about the fusion of ethnic musical cultures, then, first of all, folk music has always developed as an oral tradition, that is, through the transfer "from ear to ear" and this certainly had an impact on the formation and development of improvisational skills of the musicians of that time. The revival of this powerful layer of musical culture (improvisation) began, as a kind of base for a master school 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, on 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 formation of jazz. Although the instrumental music of the early reg-times can be loosely described as some small instrumental pieces for the piano, standing close to the academic areas of piano music, but of a completely “special” musical warehouse. I would not like to repeat myself about the influence of such currents as country / end / western and early blues on the formation of jazz. A huge number of works have been written and rewritten about all this ... It's about something else. Jazz, as a musical art, turned out to be an absolutely new means of transferring musical information coming from Man of the Century and to Man of the Century. Jazz gave rise to a certain substance that continued its life in rock music. I want to emphasize that this is not about the attitude to 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 has completely changed the general concept of performance and perception of music. Everything seems to be the same. It seems that nothing special has been invented. But everything has changed. I don't want to talk about it much. Put next to the academic (classical) composition of the ensemble and the jazz composition, and then the rock group. There seem to be the same number of musicians, but how strikingly everything is different. What happened?
But something happened... All the ongoing processes in the formation of a new model of musical art focused on people. As in other things and much on this earth.
The social roots of young America developed unevenly. It was a kind of harness of social and political contradictions that we could not even survive for a minute in old Europe. They wouldn't even be there. For the young new state, in which the slave system still existed, and the slaves were Africans, the basis was in a rising economy. Everything was thrown at its development. Many people were addicted to her. And yet people are still people. No matter what shocks swept over their heads, no matter what difficulties, crimes and violence they passed through themselves, the foundation of the Man of the Age was preserved - his soul. After all, what is interesting is that when America was being built and getting rich, there were also many Chinese in the dirtiest jobs, but the influence of the Chinese on the birth of jazz is something little noticeable, because they, politically, were relatively free.
Whether on the ranch or in the cities, people developed a kind of awareness of the division of people into owners and workers on the basis of the economy, this model basically exists to this day. Although there is also a second layer - these are politicians and their employees - officials. Maybe this is an old model for people, but in America it had to be established. Naturally, the “masters” should be served by “slaves”, and they were already in young America, which, however, persisted for a long time, even when slavery was abolished. Thus, the question of who was supposed to perform 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 went on. This created what we have today - the so-called Creoles or American blacks. More and more interesting. Assimilation creates an amazing world that we now call Latin American. To them is added what ethnographers call the Afro-Cuban population. These are the origins that today have a huge impact on jazz and not only on jazz. Yes. It can be said that many African musical-ethnic components were and still exist 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 have influenced the jazz component: 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 have already told about the European musical origins of jazz, and here, as it were, everything is already clear. But it is not clear why we somehow got used to the fact that it was the Africans who “invented” jazz?! Maybe I'm wrong. Maybe no one is used to it. But somehow it so happened that the black population of America is associated with jazz. This is not entirely true. And even, not at all.
They will reproach me, but why divide who was the first and how jazz was played?
There is only one objection - after all, the Japanese, as karate-do fighters, are naturally strong, but many fighters in the world are no weaker either.
But this is not a fight or a fight.
After all, Basie Smith, and Louis Armstrong, and Duke Ellington are leading jazz musicians, but also Gene Krupa, Benny Goodman, George Gershwin - after all, too. Further. Oscar Peterson, Charlie Parker, John Coltrane, but also Bill Evans, Chick Corea, Randy and Michael Brecker... But that's not a comparison. The comparison is not appropriate here. The thing is, who divided jazz into black and white? For me, jazz is a new unique art of the 20th century, born in America, or rather in the USA and belonging to the entire universe. It's not anyone's property. This is the property of the entire earthly world. Just like rock music. Whose property is rock music? Does it sound funny?
When you live in this world, many things are revealed differently. You can look at your feet, you can look at the stars, or you can look this way and that.
There is and will be freedom of choice.

Free will and awareness of the universal harmony.
And how much harmony in jazz!

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

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

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

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