17 jazz and world musical culture. Jazz in the cultural space of the XX century Kornev Petr Kazimirovich

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

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

1.2. Features of jazz culture.

1.3. jazz subculture.

Conclusions to the first chapter.

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

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

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

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

Conclusions to the second chapter.

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

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

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

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

Characteristics of Jazz

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

• Syncopated rhythms that generate polyrhythms.
• Rhythmic pulsation of music - beat.
• Beat deviation complex - swing.
• Constant improvisation in compositions.
• A wealth of harmonics, rhythms and timbres.

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

• Understanding each instrument as a percussion.
• Popular colloquial intonations in the performance of compositions.
• A similar imitation of conversation when playing instruments.

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

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

It is believed that jazz originated among black slaves brought from Africa to the United States of America in the 18th century. Since the captured Africans were not represented by a single tribe, they had to find a common language with their relatives in the New World. This consolidation led to the emergence of a unified African culture in America, which also included musical culture. It was not until the 1880s and 1890s that the first jazz music emerged as a result. This style was driven by worldwide demand for popular dance music. Since African musical art was replete with such rhythmic dances, it was on its basis that a new direction was born. Thousands of middle-class Americans, who had no opportunity to master the aristocratic classical dances, began to dance to the piano in the ragtime style. Ragtime brought several future jazz bases to music. So, the main representative of this style, Scott Joplin, is the author of the element "3 against 4" (cross-sounding of rhythmic patterns with 3 and 4 units, respectively).

New Orleans (1910-1920s)

Classical jazz appeared at the beginning of the 20th century in the southern states of America, and specifically in New Orleans (which is logical, because the slave trade was widespread in the south).

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

Chicago (1910-1920s)

In the 1920s, called the "roaring twenties" by the classics, jazz music gradually enters mass culture, losing the titles "shameful" and "indecent". Orchestras begin to perform in restaurants, move from the southern states to other parts of the United States. Chicago is becoming the center of jazz in the north of the country, where free nightly performances by musicians are gaining popularity (during such shows there were frequent improvisations and third-party soloists). More complex arrangements appear in the style of music. The jazz icon of this time was Louis Armstrong, who moved to Chicago from New Orleans. Subsequently, the styles of the two cities began to be combined into one genre of jazz music - Dixieland. The main feature of this style was the collective mass improvisation, which elevated the main idea of ​​jazz to the absolute.

Swing and big bands (1930s-1940s)

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

Bebop (1940s)

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

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

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

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Thesis - 480 rubles, shipping 10 minutes 24 hours a day, seven days a week and holidays

Kornev Petr Kazimirovich Jazz in the cultural space of the XX century: dissertation ... candidate of cultural studies: 24.00.01 / Kornev Petr Kazimirovich; [Place of protection: St. Petersburg. state University of Culture and Arts].- St. Petersburg, 2009.- 191 p.: ill. RSL OD, 61 09-24/77

Introduction

Chapter I. The Art of Jazz: From Mass to Elite 11

1.1. The development of jazz in the first half of the 20th century 11

1.2. Features of jazz culture 27

1.3. Jazz Subculture 49

Conclusions to the first chapter 67

Chapter II. Dynamics of development of jazz in the artistic culture of the XX century 71

2.1. Historical style change (stride, swing, be-bop) 71

2.2. Jazz musicians of the first half of the 20th century 84

2.3. Mutual penetration and mutual influence of jazz and other arts 122

Conclusions to the second chapter 136

Conclusion 138

List of references 142

Applications 156

Introduction to work

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

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

By the end of the 40s of the 20th century, jazz became an integral part of world culture, influencing academic music, literature, painting, cinema, choreography, enriching the expressive means of dance and pushing talented performers and choreographers to the heights of this art. The wave of world interest in jazz-dance music (hybrid jazz) developed the recording industry unusually, contributed to the emergence of record designers, set designers, and costume designers.

In numerous studies devoted to the style of jazz music, the period of the 20-30s is traditionally considered, and then the jazz of the 40-50s is examined. The most important period - the 30-40s turned out to be a gap in research works. The saturation with the changes of the twentieth years (30-40s) is the main factor for the apparent "non-mixing" of styles located on both sides of this temporary "rift". The twenty years under consideration were not specifically studied as a period in the history of artistic culture, in which the foundations of styles and trends were laid, which became the personification of the musical culture of the 20th-21st centuries, and also as a turning point in the evolution of jazz from a mass culture phenomenon into an elite art. It should also be noted that the study of jazz, style and culture of performance and perception of jazz music is necessary to create the most complete picture of the culture of our time.

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

the value of various subcultures that are different from the culture of society, the development and formation of a new musical art in world culture.

The works of M. S. Kagan, Yu. The art of jazz is considered in the foreign works of L. Fizer, J. L. Collier. The main stages in the development of jazz in the periods of the 20-30s and 40-50s. studied by J. E. Hasse and further more detailed study of the creative process in the development of jazz was carried out by J. Simon, D. Clark. The publications of J. Hammond, W. Connover, J. Glaser in the periodicals of the 30-40s: the Metronome and Down-beat magazines are very significant for understanding the "era of swing" and modern jazz.

The works of Russian scientists made a significant contribution to the study of jazz: E. S. Barban, A. N. Batashov, G. S. Vasyutochkin, Yu. T. Vermenich, V. D. Konen, V. S. Mysovsky, E. L. Rybakova, V. B. Feyertag. Of the publications of foreign authors, I. Wasserberg, T. Lehmann deserve special attention, in which the history, performers and elements of jazz are considered in detail, as well as books published in Russian in the 1970-1980s by Y. Panasier, U. Sargent. The problems of jazz improvisation, the evolution of the harmonic language of jazz are devoted to the works of I. M. Bril, Yu. N. Chugunov, which were published in the last third of the 20th century. Since the 1990s, more than 20 dissertations on jazz music have been defended in Russia. The problems of the musical language of D. Brubeck (A. R. Galitsky), improvisation and composition in jazz (Yu. G. Kinus), theoretical problems of style in jazz music (O. N. Kovalenko), the phenomenon of improvisation in jazz (D. R. Livshits), the influence of jazz on the professional composer's work of Western Europe in the first half of the 20th century (M. V. Matyukhina), jazz as a sociocultural phenomenon (F. M. Shak); The problems of modern jazz dance in the system of choreographic education of actors are considered in the work of V. Yu. Nikitin. The problems of style-education, harmony are considered in the works “Jazz Swing” by I. V. Yurchenko and in the dissertation of A. N. Frisher “Harmony in African American Jazz

period of style modulation - from swing to be-bop. A large amount of factual material, corresponding to the time of understanding and the level of development of jazz, is contained in domestic publications of a reference and encyclopedic nature.

One of the fundamental reference publications, the Oxford Encyclopedia of Jazz (2000), provides a detailed description of all historical periods of jazz, styles, trends, the work of instrumentalists, vocalists, highlights the features of the jazz scene, and the spread of jazz in various countries. A number of chapters in the "Oxford Encyclopedia of Jazz" are devoted to the 20-30s, and further to the 40-50s, at the same time, the 3rd-Just years are not sufficiently represented: for example, there are no comparative characteristics of jazz pianists of this period .

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

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

Subject of study- the specificity and socio-cultural significance of jazz in the 30-40s of the XX century.

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

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

consider the history, features of jazz, in the context of the dynamics of the cultural space of the 20th century;

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

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

identify the origins of new styles and trends: stride, swing, be-bop in the 30s-s of the XX century;

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

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

Theoretical basis dissertation research is a comprehensive cultural approach to the phenomenon of jazz. It allows you to systematize the information accumulated by sociology, cultural history, musicology, semiotics and, on this basis, determine the place of jazz in the world artistic culture. To solve the tasks set, the following methods were used: integrative, involving the use of materials and research results of a complex of humanitarian disciplines; systemic analysis, which makes it possible to reveal the structural interrelations of stylistic multidirectional currents in jazz; a comparative method that contributes to the consideration of jazz compositions in the context of artistic culture.

Scientific novelty of the research

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

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

jazz of the 1930s and 1940s is characterized as a musical phenomenon that largely determined the features of modern elite and mass culture, in-

industries of entertainment, cinema and photography, dance, fashion, culture of everyday life;

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

the originality of jazz of the ZSMYu-s was determined, the features of piano jazz (stride, swing, be-bop), the innovations of performers that had an impact on the formation of the musical language of modern culture were studied;

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

Basic provisions for defense

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

In the first half of the 20th century, jazz entered the circle of interests of almost all social strata of society. In the 1930s and 1940s, jazz finally established itself as one of the most important components of urban culture.

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

Jazz of the 1930-1940s had a serious impact on the work of artists, writers, playwrights, poets and on the formation of the musical language of modern culture, including everyday and festive. On os-

New jazz saw the birth and formation of jazz dance, tap, musical, new forms of the film industry.

The 30-40s of the XX century is the time of the birth of new styles of jazz music: stride, swing and be-bop. The complication of the harmonic language, techniques, arrangements, the improvement of performing skills leads to the evolution of jazz and has an impact on the development of jazz art in subsequent decades.

The role of performing skills, pianists' personalities in the style changes of jazz and the successive change of jazz styles of the period under study is very significant: stride - J.P. Johnson, L. Smith, F. Waller, swing - A. Tatum, T. Wilson, J. Stacey to be-bop - T. Monk, B. Powell, E. Haig.

Theoretical and practical significance of the research

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

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

Approbation of work took place in reports at interuniversity and international scientific conferences "Modern problems of culture research" (St. Petersburg, April 2008), at the Bavarian Academy of Music (Marktoberdorf, October 2008). Dissertation materials

used by the author when reading the course "Outstanding Jazz Performers" at the Department of Variety Musical Art of St. Petersburg State University of Culture and Arts. The text of the dissertation was discussed at meetings of the Department of Musical Variety Art and the Department of Theory and History of Culture of St. Petersburg State University of Culture and Arts.

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

A creative upsurge in many arts "welcomed" the approach of the 20th century. Instrumental jazz originated in the depths of Negro songwriting, but the end of the outgoing 19th century was marked by a symbiosis of incendiary, vibrant cake walk dance and music that was unusually suitable for it - the first ragtimes. In the meantime, both in painting and in classical music, which had a longer history and experience, everything developed unexpectedly and revolutionary. All types of art are beginning to free themselves from the classical canons that held them back.

In 1874, a group of young innovative artists organized an exhibition in Paris. In the exhibited works, a special technique of separate strokes, halftones, colored shadows was used, conveying the inconstancy, fleetingness of impressions. The new direction in art was called "impressionism", and its most prominent representatives - Claude Monet, Pierre-Auguste Renoir, Camille Pizarro, Edgar Degas, Alfred Sisley and Paul Cezanne - "impressionists". The works of the Dutchman Vincent van Gogh, Oskar Kokoschka (Austria), Edvard Munch (Norway) paved the way for "expressionism". Soon new trends began to appear in sculpture, literature, architecture and music. But there was also feedback. The departure from the classical laws of harmony was associated with the name of the French composer Claude Debussy, about whom the music world spoke in the 90s of the XIX century. The works of Claude Debussy and Maurice Ravel conveyed subtle, airy, devoid of specific feelings, carried the aesthetics of impressionism. Other composers developed this direction and experimented with rhythm - Arnold Schoenberg, Igor Stravinsky, Bela Bartok. Sculptors in their works of the early 20th century, like painters, sought to move away from the concrete to the abstract (Constantine Brancusi, Henry Moore). The aesthetics of modernist architecture, which Frank Lloyd Wright (1869-1959) implemented in his buildings, was based on the style of "organic architecture", complete unity with the surrounding landscape.

Like everything new, jazz during its growth was mobile and contact, influencing other types of art and absorbing any creative impulses. Many works of art of the early 20th century are permeated with jazz. We can feel these “jazzy” moods in painting - lines, contours, play of colors (for example, the work of P. Picasso is reflected in the compositions of D. Ellington; cubism and abstractionism are “consonant” with the works of T. Monk, C. Mingus, O. Colman); in literature - the rhythm of E. Hemingway's phrases "pushes" to comprehend the be-bop style, the luxury and richness of F. S. Fitzgerald's phrases is one with the music of the "Golden Age" of jazz - swing. A whole cohort of European and American composers appeared, contemporaries of the formation of jazz, inclined to search for a new language and techniques. Jazz indirectly influences academic music (for example, C. Debussy) and classical ballet. The hidden connection of these arts “pushes” to the emergence of new plasticity, movements (in the work of Vaslav Nijinsky - “Afternoon of a Faun”). Jazz motifs also appear in costumes designed by Lev Bakst - in lines, color combinations; in the first jazz posters, advertising and design of musical novelties. The surrealism of S. Dali, R. Magritte and X. Mirro, as well as the languid sounds and texts of the blues, are implicated in subconscious sex motivation, which was proclaimed to the whole world in his studies at the beginning of the 20th century by the psychoanalyst, scientist 3. Freud. The appearance of jazz and the formation of "Freudianism" surprisingly coincide in time.

The first steps of jazz were characterized by eccentricity, frivolity, dance character. Jazz music quickly spread in different countries and was of a mass character. Thus, the jazz of the first decades became a product for general consumption. And it turned out that jazz is the phenomenon that was so lacking for the fullness of life.

During the 20-30s of the 20th century, jazz became a world favorite, a "child", a manifestation of mass culture. Representatives of all social strata were lovers of jazz music, and this allows us to consider jazz as a phenomenon with signs of universality. This music becomes an integral part of the artistic life of society along with academic, chamber, folk music, ballet.

The tastes of the masses further dictated the specifics (mass character, dance character, external paraphernalia, style of behavior) of the development and expansion of the jazz repertoire. So, in the 30s, fast dances were popular, and orchestras competed in the incendiary performances of the same melodies. Or another extreme - tired dancers needed to play something more calm, in this case, ballads were included in the repertoire of the big band - slow pieces, in which the vocalist most often soloed. There were also many orchestras that played salon-sweet music - "sweet-bands". A huge number of these bands have sunk into obscurity. It was a real phenomenon of mass culture of the 30s and 40s.

The secret of jazz's success is in its extraordinary pulse, the brightness of the sound, the composition of the instruments, the change in the role of each of them, in a new manner of leading vocalists. The effect of a large orchestra on the viewer is striking not only by the quality of the musical material, but also by the unusual arrangement of the musicians on the stage. Most often, this is a semicircle and the viewer feels at the epicenter of attention and sound tension, where all the artists of the jazz orchestra work for the audience. This is facilitated by the special poses of the artists. The “drawn” movements of the bells of wind instruments are staged on stage - the wings of the trombones sway synchronously with the rhythm from side to side, the trumpeters raise their instruments to the sky, the saxophonists combine various turns and “pas”, the pianist gesticulates and smiles, the double bass player’s play is deliberately demonstrative, and the drummer, sitting "above all" the orchestra performs miracles of rhythm, and sometimes juggling.

The prevailing mass, dance character of jazz music pushed the businessmen from the entertainment business to the creation of an entire jazz industry. According to successful and proven samples (hits), their “twins” were created and replicated: melodies, songs, melodies, arranged in rhythmic patterns. It was a cliché of the jazz repertoire. The period from the end of the 20s to the beginning of the 40s is a kind of record for the duration of interest in jazz music, not only for America, but also for European countries. This was facilitated by a successful combination of the following factors, the presence of a kind of "chain": orchestras (performing "link") - dancers (active "link" of consumers) - gramophone records ("link" multiply increasing the number of fans - a huge number of stores sold records around the world) - radio broadcasts ("link" spreading jazz music instantly and over any distance, expanded the audience of listeners as technical improvement) - advertising (this "link" widely used and involved talented designers in the art of creating posters, posters). This record for the duration of interest will only be broken by rock music from the 60s and 90s.

In the period of the 1930s and 1940s, leaders and arrangers of big bands stood out among hundreds of orchestras, who were looking for their own way, striving to get rid of the commercial doom of the repertoire. These orchestras fell out of the list of dance big bands (for example, D. Ellington). Even the “king” of swing at the end of the 30s B. Goodman noted in his memoirs that playing in a large orchestra did not bring the creative satisfaction that was achieved in playing with a small composition. Playing with a large orchestra meant "playing for dancing." Considering the activities of large orchestras during the 30-40s, it is necessary to note its main directions: playing in huge dance halls; performances in large clubs with a stage and appropriate equipment and scenery; work in small cafes and restaurants, where the orchestra could hardly be accommodated; concerts in prestigious halls, philharmonics; touring in America and going on tour to European countries.

Features of jazz culture

The formation of jazz was vigorously perceived by theorists and researchers, who believe that intelligence and civility harm the high merits of jazz. It has been called, with a touch of praise, both "primitive" and "barbarian", although in reality jazz was created mainly by the Negro people in the conditions of a slave life. Another misconception was the theory that a high level of instrumental technique or the art of writing music is harmful to true jazz. It has also been customary to regard jazz as the "complete breakthrough" among all previous, or more accurately, all Western music.

There is a widespread point of view among jazz researchers that a trace is traced from jazz to African music. Many of those who have listened to recordings of African drums and chants see similarities with jazz in them and build various theories without noticing the difference. So it can be said that European music also leads back to Gregorian chants, which, in turn, are rooted in Asian, Greek and Hebrew music.

"Jazz is not African music" and anyone who knows Johnny Dods' "Joe Turner Blues", Louis Armstrong's "Knocking a Jug" or Kid Ory's "High Society" can say this, and how these pieces relate to African drums or Negro vocals views?

The term "African American" is especially popular among jazz theorists. To use such a hybrid term is to imply that there are two Americas. In addition to African-Americans, there are Anglo-Americans, Irish-, Jewish-, Italian-Americans and others. Jazz music combines elements borrowed from other cultures: European hymns, French folk songs, Spanish songs and dances, mountain songs and dances. And as a result of the unification, a new, fresh musical art was born, reflecting the emotional, social life, sorrows and anger of the people resettled to the American continent as slaves. After the abolition of slavery, blacks were limited in obtaining basic professions, in education, freedom of movement and civil rights, "for working" low wages and resettlement in the ghetto. In the process of struggle for freedom, the history, traditions and culture of the people were created. The music created by the Negro people (spirituals, blues and jazz) was widely spread as original. The theory that jazz is "primitive" music, so widespread in the 40s, today cannot be accepted not only by listeners, but also by musicians. The word "primitive" in most cases is incorrectly interpreted by researchers as a synonym for primitive society. Primitive man was a creator due to circumstances, thanks to which we received the basics of linguistic communication, the beginnings of musical and artistic communications, the first tools of labor.

Some works of the 1920s are also unusual, for example, I. Stravinsky's "History of a Soldier", written during the war years. In this work, as in others, post-war, there is a conscious insistence on achieving a "primitive" resemblance to African drums. As a result, the composer manages to be closer to the "beat" of the original source than is done in jazz.

The "subconsciousness" theory is another misleading postulate. Jazz is not the product of just one mind. “Jazz is the growth of emotion in a musical journey of conscious skill, taste, artistry and intelligence. However, jazz cannot be called pure improvisation, just because, in a number of exceptions, it was created by musicians who could not read music. The process of improvisation is the main one in jazz and is not so strikingly different from the processes that go on in the composer's mind. Writing music has an important place in the history of jazz, in the development of jazz musicians, in the development of their creative abilities. The achievement of high mastery in this art is progressing significantly today.

Jazz has been constantly changing throughout its history. And in every period of development, it continues to be outstanding music. When new life problems and obstacles appeared on the way of the jazz creator, this also caused changes in music. But the process of development, change, exploration of new materials and emotions is the basis not only of jazz, but of all existing music.

“Being under the pressure of many prohibitions and restrictions, the Negro people managed to create art, which, first of all, was a distraction from the hardships of life, art “for oneself”. Unexpectedly, this art turned out to be ready-made entertainment and “for everyone”. The people created music of phenomenal unusualness and beauty. This music began to be admired by many people in the world. Jazz should be considered a great contribution to the world's cultural heritage.

One of the features of jazz is its unusual sound. The Negro music of the 19th century was immature. The Negro musician, creator of the wonderful American forms of music, almost always neglected and lonely, who did not attach much importance to the accusations that rained down on his head, was called the dissolute "genius of his race." After the Civil War, new instruments were adapted to the new quality of music. Instruments from the Confederate army: trumpets, cornets, trombones, clarinets, tubas, double basses, banjo (later guitar), drums appeared in street bands. The piano began to be used in variety shows due to the rhythmic-percussive property of this instrument. A common music for dances and parades appeared, in which each instrument had its own "voice", but all of them were intertwined together in melodic lines and later it was called "New Orleans music".

Historic style change (stride, swing, be-bop)

Speaking about the origin of the stride, we will have to go back a decade - to the 20s. This style owes its birth to New York. It was here that the figure of a lone pianist was in demand at any "party", in a restaurant, bar, hotel. The musician could perform any novelty song, fashionable melody, often transforming the song material to his taste. This pianist was, in fact, a "man-orchestra". The left hand performed the function of the rhythm section, while the right hand decorated and supplemented the melody and its interpretation with various techniques. The "Striding" technique in the left hand ("going with a big step", "walking" bass) came from ragtime (bass - chord - bass - chord), but the playing of the right hand changed significantly. This playing style was later called "Harlem Stride Piano" or simply "Stride".

Starting in its development from ragtime, the stride began its formation during the First World War, but especially after its end. This style - energetic, full of pulse was in tune with the emergence of an increasing number of mechanisms and various devices (cars, airplanes, telephones) that change people's lives, and reflected the new rhythm of the city, like other types of contemporary art (painting, sculpture, choreography).

Fast tempos and intensity (sound density) led stride pianists to a dense, active interaction of hands. The technique of the right hand advanced the rhythmic accompaniment in the left hand. This style featured a different level of rhythm intensity, quick chord changes, and a more linear meter. While the basis for the right hand was the preservation of figures and versatility, the monophonic melodic line was increasingly used, becoming the norm. Stride pianists also added blues notes to their playing, while in ragtime this technique was extremely rare. These stylistic changes spoke of the awareness and education of the musicians. Stride absorbed a lot from his "predecessors" - ragtime and New Orleans style. Let's conditionally divide the stride into "early", of which J.P. Johnson was a prominent representative, and "late", in which F. Waller was the dominant figure. It was Waller's style that pushed the development of the "swing" style and contributed to the emergence of such masters as T. Wilson and A. Tatum.

The best stride performers were concentrated in the US East, in New York, and this style was more often called "Harlem" striding. J. P. Johnson (J. P. Johnson) was the central figure, and his predecessors were Luckey Roberts, Eubie Blake, Richard "Abba Labba" McLean.

Let us note some characteristic features of these periods. Thus, in the early period, the best stride pianists had an "incredible" left hand and were able to play at very fast tempos. Chords and harmonic progressions improved, improvisation became the norm for this style, unlike ragtime. The technique of the left hand is similar to that used in classical reg, but the chords and progressions have become more complete and refined. The use of blues effects distinguished stride piano from ragtime. Early stride pianists played with intense rhythmic movement—"drive"—as did New Orleans players. Their improvisation was built on embellishments and variations.

The most popular figure of the "late" period was Fats Waller. His touch to the instrument (carcass) was lighter than that of J.P. Johnson and F. Waller was a transitional figure from the stride to the swing style.

On the "motives" F. Waller builds his game and compositions. Motives are short melodic, rhythmic or melodic-rhythmic ideas, which can then be varied many times. Motives, due to their brevity, are easy to remember. This was characteristic not only of blues traditions, but also of classical music. The features of the stride also include: continuous accompaniment in the left hand; the rhythmic line of the left hand became more complicated; reception of the use of blues notes in the melodic line; the use of repetitive phrases - piano riffs and trills in the right hand; chord improvisation over several measures; playing chords in the left hand for each quarter, without using separate bass notes, at fast tempos; performers of the late stride, complicating the piano technique, were forced to lighten the touch; constant dynamics throughout the play.

The thirties are also the beginning of the "boogie-woogie" style, created by pianists who played a blues square, simple in form and harmony, with rich, rhythmically repeating riff figures in the left hand. Taking its name from a dance common in the South among the Negro environment, the style of "boogie-woogie" marched to the North of the United States with a powerful migration of the black population after the First World War. Already in the mid-20s, "boogie-woogie" began to spread to "race records" (records for blacks). Here are the names of the first performers: Clay Custer, Jimmy Blyth, Pine Top Smith. The dance instruction could also be attached to the disc.

Considering the formation of the swing style in early jazz, it is necessary to note its evolution on two levels - in a small ensemble and in solo piano music. In the mid-1930s, the ensembles changed. Jazz ensembles grew "in breadth", becoming orchestras. It was a splicing, a "hybrid" of a jazz combo and a big dance band of the 20s. During the period of transition from small groups to large ones, while the "softening" process took place in music, a new piano style also appeared.

The example of the swing rhythm section was the orchestra of K. Basie. The musicians of the rhythm section (guitar, double bass, piano, drums) played all four beats of each bar in one breath and with such a pulse that they seemed to be the sound of one instrument.

Swing pianists seemed to be torn between two worlds. Swing demanded light touch and a sense of lag; Stride piano pushing accents have been smoothed out. Studying the features of swing based on the work of T. Wilson, we note the following. As in early styles, the left hand basically kept the rhythm by playing every quarter of the bar. The heavy pulsation of the stride pianists' left hand was replaced by a steady-relaxed meter. There was also a difference in how swing pianists varied the technique of the left hand. Most of the walking lines were extended per measure, but there were also long sequences stretching for two or more measures. T. Wilson was characterized by an attachment to even, smoothed lines, more subtle and graceful than stride pianists. Back in the 1920s, L. Armstrong prepared the ground for such an approach to improvisation, as did E. Hines. Although Teddy Wilson was the best representative of the swing style, Art Tatum (1910-1956) summed up all styles of jazz piano in his playing, inspiring the next generation of jazz musicians, be-bop players. One of the most remarkable musicians who ever lived, A. Tatum was almost blind, but possessed such a brilliant technique that many famous classical pianists were in awe of him. He transformed the harmonies of pieces in unexpected ways and often wrote down or improvised direct chord progressions, which are still amazing in their modernity. Tatum's playing was still somewhat of a ragtime model, but he "went deep", exploring the jazz piano more than anyone before him. The pinnacle of improvisation in the game of A. Tatum is quite controversial. Some critics consider his transfer of the original musical material to be overly decorated, ornamental. Despite these criticisms, the truth is, for the most part, that Tatum was a remarkable improviser also because he manipulated the material on offer in unique and creative ways. He was not as flamboyant, a linear improviser as T. Wilson, but he improvised far more than T. F. Waller.

The end of the swing era forced the leaders of the orchestras to seriously revise the repertoire. Many orchestras that appeared, playing in the style of "rhythm and blues", used all the finds of the founders of boogie-woogie. Not only beginners, but also well-known big bands (D. Ellington, K. Basie, L. Milinder, K. Calloway, W. Bradley, etc.) introduced fiery rhythmic pieces into their repertoire. Towards the end of the swing era (early 40s), pianists began to explore new approaches to playing. After Art Tatum's unparalleled virtuosity, where could jazz piano playing go? Time was waiting for new performers. These jazz revolutionaries in the early 40s played with much less rhythmic emphasis in the accompanying line and a more angular, unpredictable improvisational line. Jazz pianists in the 1940s found a new way: playing right hands in an ensemble with percussion and double bass changed. The famous Stride players have now been replaced by contemporary jazz piano trios.

Jazz affects the most diverse aspects of human life: from the deep spiritual feelings of an individual listener to the culture of thinking on a large scale. As one of the brightest trends in the art, jazz music has been inspiring people for many decades to numerous historical musical studies, to progressive methods in composing jazz improvisations, to educational activities, and this is where the great influence of jazz lies.

Taking into account the fact that, according to the most common description of the concept of “culture of thinking”, it is a kind of synthesis of acquired and improved qualities of a person, we will single out the most important of them and trace the relationship between the influence of jazz on their development.

Influence of jazz scientifically

According to the doctor Robert J. Zatorre from the Montreal Neurological Institute, jazz is a natural and comfortable part of everyday human activity, but at the same time, one of the most complex and demanding music for the brain.

In other words, thanks to the complex directions in jazz, especially such as avant-garde, mainstream, bebop, hard bop, our brain works several times more actively in order to understand changes in musical harmony, instrumental solo improvisations. Along with the above, these jazz styles require excellent responsiveness and constant performance control, and as a result, the neural connections of the brain improve, which is what Dr. Robert Zatorr explores in his scientific works:

We consider the musical influence on the cognitive property of the brain and auditory areas, with particular attention to the study of the interactions between these systems in a musical context.

Candidate of Cultural Sciences Konstantin Ushakov created a whole dissertation, in which a significant part is devoted to the direct influence and evolution of jazz itself and, accordingly, the change in the cultural thinking of people.

The scientist describes and discusses in detail about jazz from the time of its formation to its current state, at the same time analyzing each turning point in history. Jazz in its influence is able to combine several accents at once that improve the mental abilities of a person: learning, quick reaction, innovative approach and the development of logical thinking.

The methodological basis of the study is the problem-logical method. It allowed us to consider the features of jazz as a cultural phenomenon, to identify the elements of the musical language and aesthetics that characterize it, to explore the patterns, mechanisms of jazz dynamics and the direction of its evolution, to determine the features of the transformation of jazz in Russia and to explore the possibility of updating the national musical culture through jazz innovations.

Perhaps one of the great "achievements" of jazz is what a powerful spiritual power it has! Jazz revolutionized racial segregation, reconciling people of different races and colors and uniting them without belittling the merits of both sides. Rooted in the origins of the origins, jazz music owes its appearance to black people, whose talents helped create this direction, and whose creative power was able to overcome most human weaknesses and passions.

So, we realize that in addition to everything else, jazz helps people get rid of their moral shortcomings, which in turn leads to the next stage of personal development - calmness. Many things can be meant by this concept, but it is worth highlighting factors such as moral stability and a predominantly positive attitude.

Of course, not all people who listen to jazz music are calm and balanced. However, the mental endurance of such individuals is much higher than that of those who prefer, for example, heavy music.

This explains a large part of the people listening to jazz complex professions that require increased concentration: surgeons, directors of large corporations and enterprises, researchers. In conclusion, I would like to note that jazz music in general has a positive effect on many factors of the human psyche and culture of thinking, but from an artistic point of view, this direction inspires most listeners to expand their preferences, which also leads to the development of good taste.

As a manuscript

Kornev Petr Kazimirovich

Jazz in the cultural space of the 20th century

24.00.01 - theory and history of culture

St. Petersburg
2009
The work was performed at the Department of Musical Variety Art of the St. Petersburg State University of Culture and Arts.

Scientific adviser -

Doctor of Cultural Studies,
and. about. professors
E. L. Rybakova

Official opponents:

I. A. Bogdanov, Doctor of Arts, Professor
I. I. Travin, Candidate of Philosophical Sciences, Associate Professor

Lead organization -

Saint Petersburg State University

The defense will take place on June 16, 2009 at 2 pm at a meeting of the dissertation council D 210.019.01 at the St. Petersburg State University of Culture and Arts at:
191186, St. Petersburg, Palace Embankment, 2.

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

Scientific Secretary
dissertation council
Doctor of Cultural Studies, Professor V. D. Leleko
The relevance of research. In the world artistic culture, jazz during the 20th century caused a huge amount of controversy and discussion. For a better understanding and adequate perception of the specifics of the place, role and significance of music in modern culture, it is necessary to study the formation and development of jazz, which has become a fundamentally new phenomenon not only in music, but in the spiritual life of several generations. Jazz influenced the formation of a new artistic reality in the culture of the twentieth century.

In numerous reference, encyclopedic publications, in the critical literature on jazz, two stages are traditionally distinguished: the era of swing (late 20s - early 40s) and the formation of modern jazz (mid 40s - 50s), as well as biographical information about each pianist. But we will not find in these books either comparative characteristics or cultural analysis. However, the main point is that one of the genetic cores of jazz is in its twenties (1930-1949). Due to the fact that in modern jazz art we observe a balance between "yesterday's" and "today's" performance features, it became necessary to study the sequence of jazz development in the first half of the 20th century, in particular, the period of the 30s and 40s. During these years, three styles of jazz were being improved - stride, swing and be-bop, which makes it possible to talk about the professionalization of jazz, about the formation of a special elite audience by the end of the 40s.

By the end of the 1940s, jazz became an integral part of world culture, influencing academic music, literature, painting, cinema, choreography, enriching the expressive means of dance and promoting talented performers and choreographers to the heights of this art. The wave of world interest in jazz-dance music (hybrid jazz) developed the recording industry unusually, contributed to the emergence of record designers, set designers, and costume designers.

In numerous studies devoted to the style of jazz music, the period of the 20-30s is traditionally considered, and then the jazz of the 40-50s is examined. The most important period, the 1930s and 1940s, turned out to be a gap in research works. Saturation with changes in the 20s (30s-40s) is the main factor for the apparent "non-mixing" of styles located on both sides of this time "rift". The twenty years under consideration were not specifically studied as a period in the history of artistic culture, in which the foundations of styles and trends were laid, which became the personification of the musical culture of the XX-XXI centuries, and also as a turning point in the evolution of jazz from a mass culture phenomenon into an elite art. It should also be noted that the study of jazz, style and culture of performance and perception of jazz music is necessary to create the most complete picture of the culture of our time.

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

The works of M. S. Kagan, Yu. The art of jazz is considered in the foreign works of L. Fizer, J. L. Collier. The main stages in the development of jazz in the periods of the 20-30s and 40-50s. studied by J. E. Hasse and further more detailed study of the creative process in the development of jazz was carried out by J. Simon, D. Clark. The publications of J. Hammond, W. Connover, J. Glaser in the periodicals of the 30s and 40s: the Metronome and Down-beat magazines are very significant for understanding the "era of swing" and modern jazz.
The works of Russian scientists made a significant contribution to the study of jazz: E. S. Barban, A. N. Batashov, G. S. Vasyutochkin, Yu. T. Vermenich, V. D. Konen, V. S. Mysovsky, E. L. Rybakova, V. B. Feyertag. Of the publications of foreign authors, I. Wasserberg, T. Lehmann deserve special attention, in which the history, performers and elements of jazz are considered in detail, as well as books by Y. Panasier and W. Sargent published in Russian in the 1970s–1980s. The problems of jazz improvisation, the evolution of the harmonic language of jazz are devoted to the works of I. M. Bril, Yu. N. Chugunov, which were published in the last third of the twentieth century. Since the 1990s, more than 20 dissertations on jazz music have been defended in Russia. The problems of the musical language of D. Brubeck (A. R. Galitsky), improvisation and composition in jazz (Yu. G. Kinus), theoretical problems of style in jazz music (O. N. Kovalenko), the phenomenon of improvisation in jazz (D. R. Livshits), the influence of jazz on the professional composer's work of Western Europe in the first half of the 20th century (M. V. Matyukhina), jazz as a sociocultural phenomenon (F. M. Shak); The problems of modern jazz dance in the system of choreographic education of actors are considered in the work of V. Yu. Nikitin. The problems of style formation and harmony are considered in the works "Jazz Swing" by I. V. Yurchenko and in the dissertation of A. N. Fisher "Harmony in African American jazz of the period of stylistic modulation - from swing to be-bop". A large amount of factual material, corresponding to the time of understanding and the level of development of jazz, is contained in domestic publications of a reference and encyclopedic nature.
One of the fundamental reference publications, the Oxford Encyclopedia of Jazz (2000), provides a detailed description of all historical periods of jazz, styles, trends, the work of instrumentalists, vocalists, highlights the features of the jazz scene, and the spread of jazz in various countries. A number of chapters in the Oxford Encyclopedia of Jazz are devoted to the 20s-30s, and further to the 40s-50s, at the same time, the 30s-40s are not sufficiently represented: for example, there are no comparative characteristics of jazz pianists of this period .
Despite the vastness of materials on jazz of the studied period, there are practically no studies devoted to the cultural analysis of the stylistic features of jazz performance in the context of the era, as well as the jazz subculture.
The object of the research is the art of jazz in the culture of the twentieth century.
The subject of the research is the specificity and socio-cultural significance of jazz in the 30s and 40s of the 20th century.
The purpose of the work: to study the specifics and socio-cultural significance of jazz of the 30s–40s in the cultural space of the 20th century.
In order to achieve this goal, it is necessary to solve the following research tasks:
- consider the history, features of jazz, in the context of the dynamics of the cultural space of the twentieth century;
- to identify the causes and conditions due to which jazz was transformed from a phenomenon of mass culture into an elite art;
– to introduce into scientific circulation the concept of jazz subculture; determine the range of use of signs and symbols, terms of the jazz subculture;
- to identify the origins of new styles and trends: stride, swing, be-bop in the 30-40s of the twentieth century;
– to substantiate the significance of the creative achievements of jazz musicians, and pianists in particular, in the 1930s–1940s for world artistic culture;
– to characterize the jazz of the 30s and 40s as a factor that influenced the formation of modern artistic culture.
The theoretical basis of the dissertation research is a comprehensive cultural approach to the phenomenon of jazz. It allows you to systematize the information accumulated by sociology, cultural history, musicology, semiotics and, on this basis, determine the place of jazz in the world artistic culture. To solve the tasks set, the following methods were used: integrative, involving the use of materials and research results of a complex of humanitarian disciplines; systemic analysis, which makes it possible to reveal the structural interrelations of stylistic multidirectional currents in jazz; a comparative method that contributes to the consideration of jazz compositions in the context of artistic culture.

Scientific novelty of the research

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

– the role of jazz as the most important component of the urban culture of the 1930s and 1940s was highlighted (municipal dance floors, street processions and performances, a chain of restaurants and cafes, private jazz clubs);

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

– the concept of jazz subculture was introduced into scientific circulation, the criteria and signs of this social phenomenon were identified; the range of use of verbal terms and non-verbal symbols and signs of the jazz subculture is determined;
– the originality of jazz of the 30–40s was determined, the features of piano jazz (stride, swing, be-bop), the innovations of performers that influenced the formation of the musical language of modern culture were studied;

– the significance of the creative achievements of jazz musicians was substantiated, an original chart-table of the creative activity of the leading jazz pianists, who determined the development of the main jazz trends of the 1930s–1940s, was compiled.
Basic provisions for defense

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

2. In the first half of the twentieth century, jazz is included in the circle of interests of almost all social strata of society. In the 1930s and 1940s, jazz finally established itself as one of the most important components of urban culture.

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

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

5. The 30-40s of the 20th century is the time of the birth of new styles of jazz music: stride, swing and be-bop. The complication of the harmonic language, techniques, arrangements, the improvement of performing skills leads to the evolution of jazz and has an impact on the development of jazz art in subsequent decades.

6. The role of performing skills, the pianists' personalities in the stylistic changes of jazz and the successive change of jazz styles of the period under study is very significant: stride - J.P. Johnson, L. Smith, F. Waller, swing - A. Tatum, T. Wilson, J. Stacey to be-bop - T. Monk, B. Powell, E. Haig.

Theoretical and practical significance of the research

The materials of the dissertation research and the results obtained make it possible to expand knowledge about the development of the artistic culture of the twentieth century. The work traces the transition from mass spectacular dance performances in front of a crowd of thousands to elite music that can sound for several dozen people, while remaining successful and complete. The section devoted to the characteristics of the stylistic features of stride, swing and be-bop allows us to consider the whole range of new comparative and analytical works on jazz performers over decades and on a stage-by-stage movement towards music and modern culture.

The results of the dissertation research can be used in the teaching of university courses "history of culture", "aesthetics of jazz", "outstanding performers in jazz".
Approbation of the work took place in the reports at the interuniversity and international scientific conferences "Modern problems of the study of culture" (St. Petersburg, April 2007), at the Bavarian Academy of Music (Marktoberdorf, October 2007), "Paradigms of culture of the XXI century in the studies of young scientists" ( St. Petersburg, April 2008), at the Bavarian Academy of Music (Marktoberdorf, October 2008). The materials of the dissertation were used by the author when reading the course "Outstanding Jazz Performers" at the Department of Variety Musical Art of St. Petersburg State University of Culture and Arts. The text of the dissertation was discussed at meetings of the Department of Musical Variety Art and the Department of Theory and History of Culture of St. Petersburg State University of Culture and Arts.
Work structure. The study consists of an introduction, two chapters, six paragraphs, a conclusion, an appendix, and a bibliography.

The "Introduction" substantiates the relevance of the chosen topic, the degree of development of the topic, defines the object, subject, purpose and objectives of the study; theoretical foundations and research methods; scientific novelty is revealed, theoretical and practical significance is determined, information on approbation of the work is given.

The first chapter "The Art of Jazz: From Mass to Elite" consists of three paragraphs.
The new musical art developed in two directions: in line with the entertainment industry, within which it is being improved today; and as an art in its own right, independent of commercial popular music. Jazz of the second half of the 1940s, manifesting itself as an elite art, had a number of important features, including: individuality of norms, principles and forms of behavior of members of the elite community, thereby becoming unique; using a subjective, individually creative interpretation of the familiar; the creation of deliberately complicated cultural semantics, requiring special training from the listener. The problem of culture is not its bifurcation into "mass" and "elitist", but their relationship. Today, when jazz has practically become an elite art, elements of jazz music can also be found in the products of international mass culture.
The first paragraph, "The Development of Jazz in the First Half of the 20th Century," examines the cultural world of the early 20th century, in which new artistic trends and currents arose. Impressionism in painting, avant-gardism in music, modernism in architecture and new music, which arose at the end of the 19th century, won the sympathy of the public.

The following shows the creation of cultural and musical traditions by settlers from the Old World and Africa, which laid the foundation for the history of jazz. The European influence was reflected in the use of the harmonic system, the notation system, the set of instruments used, and the introduction of compositional forms. New Orleans is becoming a city where jazz is born and developed, facilitated by transparent cultural boundaries that provide many opportunities for multicultural exchange. Since the end of the 18th century, there has been a tradition that on weekends and religious holidays, slaves and free people of all colors flocked to Congo Square, where Africans danced and created hitherto unseen music. Jazz was also promoted by: a viable musical culture that unites the love of the townspeople for opera arias, French salon songs, Italian, German, Mexican and Cuban melodies; passion for dancing, since dance was the most accessible and widespread entertainment without racial boundaries and classes; the cultivation of a pleasant pastime: dancing, cabaret, sports meetings, excursions and everywhere jazz was present as an integral participant; the dominance of brass bands, participation in which gradually became the prerogative of Negro musicians, and pieces performed at weddings, funerals or dances contributed to the formation of the future jazz repertoire.

The paragraph further analyzes the critical and research works of European and American authors published in the period of the 1930s and 1940s. Many conclusions and observations of the authors remain relevant today. The role of the piano as an instrument, which, due to its widest possibilities, “attracted” the most versatile musicians, is emphasized. During this period: swing orchestras gain strength (late 20s) - the "golden era" of swing begins (30s - early 40s), and by the mid-40s. - the era of swing is on the decline; until the end of the 30s, gramophone records of outstanding pianists were published: T. F. Waller, D. R. Morton, D. P. Johnson, W. L. Smith and other masters of the “stride-piano” style, new names appeared; D. Yancey, M. L. Lewis, A. Ammons, P. Johnson - a galaxy of pianists-performers successfully popularizes "boogie-woogie". Undoubtedly, the performers of the late 30s - early 40s. concentrate in their art all the achievements of the swing era, and individual musicians give ideas to a new galaxy of performers. The expansion of the limits of use of each instrument and the complication of performance acquires sophistication, sophistication of the overall sound, a higher-level performance technique is being developed. A serious step in the development of jazz, the popularization of the best performers, was the cycle of concerts "Jazz at the Philharmonic" or "JATP" for short. In 1944, this idea was conceived and successfully implemented by jazz impresario Norman Granz. Music, which until recently served as a "support" for dancing, is moving into the category of concert music, and you need to "be able" to listen to it. Here again we see the emergence of features of an elitist culture.

The second paragraph, "Peculiarities of Jazz Culture", discusses the formation of jazz, discussed by theorists and researchers. Jazz has been called both "primitive" and "barbarian". The paragraph explores different points of view on the origin of jazz. The culture of the Negro people has taken a form of self-expression, which has become part of everyday life in the conditions of American life.
The peculiarities of jazz include the original nature of the sound of instruments. A common music for dances and parades appeared, in which each instrument had its own "voice". The ensemble "weaving" of the melodic lines of the instruments was later called "New Orleans music" after the place of its birth. The first and most important instrument in jazz is the human voice. Each outstanding vocalist creates a personal style. Drums and percussion go back to "African" music, however, jazz playing on these instruments differs from the traditions of "African" performance. Surprise, childishness, a serious-comic spirit, effects - stops, sudden silence, a return to rhythm became new features of jazz drums. Jazz drums are ultimately an ensemble instrument. Other instruments in the rhythm section - banjo, guitar, piano and double bass - make extensive use of two roles: individual and ensemble. The trumpet (cornet) has been a leading instrument ever since the New Orleans marching bands. Another important instrument was the trombone. The clarinet was the "virtuoso" instrument of New Orleans music. The saxophone, which appeared only slightly in New Orleans music, gains recognition and popularity in the era of large orchestras. The role of the piano in the history of music is enormous. Jazz has found three approaches to the sound of this instrument. The first one is based on excellent sonority, percussive intensity, the use of loud dissonances; the second approach is also a "percussive" piano, but with an emphasis on pure intervals; and third, the use of continued notes and chords. Prominent performers of ragtime and pieces in this style were professionally trained pianists (D. R. Morton, L. Hardin). They brought much of the world's musical culture to jazz. New Orleans jazz took on a variety of forms because music played many social and community roles in urban culture. From ragtime, instrumental jazz received a virtuosity that was lacking in folk blues. The behavior of the performers differed sharply from the restrained, classical - screams, singing, pretentious clothes become integral features of early jazz performers. Much of what is in today's music was in its infancy in New Orleans music. This music gave the world such creative musicians as J. K. Oliver, D. R. Morton, L. Armstrong. The closure of Storyville, part of New Orleans, in 1917 contributed to the spread of jazz. The movement of jazz musicians to the North allowed this music to become the property of all America: blacks and whites, East and West coasts. Jazz music not only had a strong impact on popular and commercial music, but also acquired the features of a complex artistic and musical art, becoming an integral part of modern culture.
The new music included everything that is called jazz, including its various interpretations. According to the English researcher F. Newton, the music that average Americans and Europeans listened to from 1917 to 1935 can be called hybrid jazz. And she made up about 97% of the music that was listened to under the label of jazz. Jazz performers sought to achieve a more serious attitude towards their work. Thanks to the fashion for everything American, hybrid jazz spread everywhere with space speed. And after the crisis of 1929-1935, jazz regained its popularity. Simultaneously with the trend of new music towards seriousness, pop music has almost completely adapted Negro instrumental technique and arrangements using the name "swing". The internationality and mass nature of jazz gave it a commercial character. However, jazz was characterized by a powerful spirit of professional rivalry, which forced to look for new ways. Throughout its history, jazz has proven that authentic music in the 20th century can avoid the loss of artistic qualities by establishing contact with the public. Jazz has developed its own language and traditions.

The phenomenological setting is aimed at revealing how jazz is presented to us, exists for us. And, of course, jazz is the music of the performers, subordinated to the individuality of the musician. The art of jazz is one of the significant means of educating culture in general and aesthetic culture in particular. The brightest jazz musicians had the ability to win over the audience and evoke a wide range of positive emotions. These musicians can be attributed to a special group of people who are distinguished by high sociability, since in jazz the spiritual becomes visible, audible and desirable.
The third paragraph "Jazz subculture" examines the existence of jazz in society.
Social changes in the life of Americans begin to appear by the beginning of the 30s. They successfully combine diligent work with evening rest. These changes led to the development of new institutions - dance halls, cabarets, ceremonial restaurants, nightclubs. In New York City's disreputable neighborhoods, San Francisco's bohemian (Barbary Coast) and Negro ghettos, there have always been unofficial places of entertainment. Nightclubs grew out of these early dance and cabaret halls. The clubs that sprang up after the First World War were most like music halls. The development of clubs and the spread of jazz was also helped by the ban on drinking alcohol in the United States, which lasted from 1920 to 1933. These saloons for the illegal sale of alcohol (in English - “speakeasies”) were equipped with huge bars, many mirrors, large rooms filled with tables. The rise in popularity of "speakeasies" was facilitated by: good food, a dance floor and a musical performance. Many of the visitors to these establishments considered jazz to be an excellent addition to such a “relaxation”. After the lifting of the ban, for a decade (from 1933 to 1943) many clubs with jazz music were opened. It was already a new successful type of urban cultural institutions. The popularity of jazz changed in the second half of the forties and jazz clubs (for economic reasons) became a convenient venue for recording concerts, and for combining with other forms of entertainment. And the fact that modern jazz was music for listening and not for dancing also changed the atmosphere of the clubs. Of course, the main American "club" centers of the 1930s and 40s were New Orleans, New York, Chicago, Los Angeles.
Leaving New Orleans in 1917, jazz became the property of all America: North and South, East and West coasts. The world route along which jazz moved, gaining more and more new fans, was approximately as follows: New Orleans and areas near the city (1910s); all the cities along the Mississippi where steamboats with musicians on board called (1910s); Chicago, New York, Kansas City, West Coast cities (1910s–1920s); England, Old World (1920–1930s), Russia (1920s).
The paragraph gives a detailed description of the cities in which the development of jazz took place most intensively. The subsequent development of jazz had a huge impact on the entire festive urban culture. Simultaneously with this broad, all-encompassing, official movement of new music, there was another not entirely legal path that also formed an interest in jazz. Jazz artists worked for the "army" of bootleggers, playing in establishments, sometimes all day long, while honing their skills. Jazz music in these nightclubs and saloons unwittingly served as an attractive force in these establishments, where visitors were secretly introduced to alcohol. Of course, this gave rise to a trail of ambiguous associations for the word "jazz" for many years later. The very first mentioned in the history of jazz include the New Orleans clubs "Masonic Hall", "The Funky Butt Hall", in these clubs the legendary trumpeter B. Bolden played, "Artisan Hall", in "The Few-clothes Cabaret", opened in 1902, F. Keppard, D. K. Oliver, B. Dodds spoke. The Cadillac Club opened in 1914, The Bienville Roof Gardens was opened on the roof of the Bienville Hotel (1922), The Gypsy Tea Room, the largest nightclub in the South, opened in 1933, and finally , the most famous Dixieland club in New Orleans is The Famous Door. By the 1890s, an early piano style, ragtime, had emerged in and around the city of St. Louis and was a part of home music production and a job for musicians. After 1917, Chicago became one of the centers of jazz, where the "New Orleans" style continued, which was later called "Chicago". Chicago has become one of the important centers of jazz since the twenties. D.C. Oliver, L. Armstrong, A. Hines played at his clubs Pekin Inn, Athenia Cafe, Lincoln Gardens, Dreamland Ballroom, Sunset Cafe, A. Hines, Big - bands of F. Henderson, B. Goodman. A. Tatum liked to perform in the small club "Swing Room".
In the East, in Philadelphia, the local piano style, based on ragtime and gospel shout, was contemporary with the styles of New Orleans pianists (early 20th century). This music also sounds everywhere, giving a fundamentally new flavor to urban culture. In Los Angeles, in 1915, local musicians discover New Orleans jazz, try their hand at collective improvisation, thanks to the tour of the F. Keppard orchestra. Already in the 1920s, more than 40% of the black population of Los Angeles was concentrated in a few blocks on both sides of Central Avenue from 11th to 42nd streets. Business establishments, restaurants, social clubs, residences and nightclubs were also concentrated here. One of the first and famous clubs was The Cadillac Cafe. In 1917, D. R. Morton was already speaking there. The Club Alabam, later renamed the Apex Club, was founded by drummer and bandleader K. Mosby in the early 1920s, and the club was still active in jazz in the 1930s and 1940s. A little further on was the Down Beat Club, where the first West Coast be-bop artists performed: H. McGee's band, C. Mingus and B. Catlett's Swing Stars. Ch. Parker played in the club "The Casa Blanca". While Central Avenue was still the jazz soul of Los Angeles, clubs in other areas also played an important role. The Hollywood Swing Club was one such place. Both swing bands and be-bop style performers played here: L. Young, B. Carter's orchestra, D. Gillespie and C. Parker performed until the mid-40s. The Lighthouse Cafe opened in 1949. This club was subsequently glorified by the stars of the cool movement. Another popular West Coast club was The Halg: R. Norvo, J. Mulligan, L. Almeida, B. Shank played here.
The jazz musical styles that arose in these cities brought a special flavor to the atmosphere of urban culture. By the 1930s, jazz fills the free time of citizens both “from below” (from drinking establishments) and “from above” (from huge dance halls), becomes part of urban culture and merges into mass culture against the backdrop of urbanization. The jazz of this period became that symbolic system that was equally accessible to almost all members of society. In this paragraph, the circle of use of verbal terms and non-verbal symbols and signs is revealed, the concept is given and the criteria and signs of the jazz subculture are defined. The world of jazz "gave birth" to subcultures, each of which forms a special world with its own hierarchy of values, style and way of life, symbols and slang.
This paragraph reveals the typological features of various subcultures: slang, jargon, demeanor, preferences in clothes and shoes, etc.
A subculture that prefers stride-style music uses speech turns "after hours" (after work), "professor", "tickler", "star" (star). The demeanor of pianists on stage has changed - from a serious, classical, conservative, sometimes prim manner, performers of dance (ragtime) and New Orleans music have gone into the opposite - the art of entertaining the public (entertaining). Stride performers, who were called "professors" or "ticklers", staged entire performances from their performances, starting with the appearance in front of the public and performing. This was the grotesque, acting, the ability to present yourself to the public. Special appearance details included: a long coat, a hat, a white scarf, a luxurious suit, patent leather shoes, a diamond tie clip and cufflinks. The appearance was complemented by a massive cane with a gold or silver knob (the cane was a “storage” of cognac or whiskey). Stride was a good accompaniment to a solo or pair dance - tap or step. By the mid-30s, more and more performers of this type of jazz dance appeared.
The subculture of swing style fans uses the following words and expressions in their speech: “jazzman” (“jazzman”), “the king” (king), “great” (played great), “blues” (blues), “chorus” (square). The orchestra members on the stage demonstrated rehearsed movements, rhythmically swinging the trumpets of trombones, saxophones, raising their trumpets upwards. The performers were dressed in solid, elegant suits or tuxedos, identical ties or bow ties, and shoes of the inspector model. Swing was "accompanied" by the Negro youth subculture "Zooties" ("zooties"), whose name comes from the "Zoot Suit" clothing - a long striped jacket and tight trousers. Negro musicians, as well as "Zutis", artificially straightened their hair, mercilessly pomaded them. Singer and dandy C. Calloway demonstrates this style in Stormy Weather (1943). A significant part of the youth public became fans of swing: white college students created a vogue for swing. The swing audience was mostly dancing. But it was music and "for the ear." It was during this period that the custom appeared among swing fans to listen around the stage on which jazz orchestras played, which later became an integral part of all jazz events. On the basis of different attitudes towards music and dance in the swing era, the following arose: the subculture of "alligators" - that was the name of that part of the public that liked to stand by the stage and listen to the band; subculture "jitterbugs" - part of the public, dancers who have gone on an aggressive, extreme path of self-expression. The era of swing coincides with the Golden Age of tap. The best dancers are filmed.
Musicians and fans of the be-bop style use other words and expressions: "dig" (dig, dig), "ye, man" (yes, guy), "session" (record, session), "cookin'" (cooking, kitchen ), "jam", boxing terms, "cats" (cats - an appeal to musicians), "cool" (cool). The musicians demonstrate "protest" behavior - no bows, smiles, "cooling" of relations with the "audience". In clothes, a denial of sameness (serialization) appeared, reaching the point of negligence. Black glasses, berets, caps come into fashion, "goat" beards grow. Becomes fashionable and crushing health and psyche addiction to drugs. Jazz - musicians - drugs, an ill-fated life chain is being built. The transience of change leads to a feeling of fragility, creates a mood of uncertainty and instability. There is a lack of spiritual comfort, positive emotions from communication, the need for contemplation. Many talented and bright figures are lost or "burned out", prematurely leaving the professional jazz "path".
Modern jazz was able to understand and appreciate trained audiences. Part of this elite public has already been formed. They were "hipsters", a special social stratum. This phenomenon was the focus of attention of researchers and the press in the 1940s and 1950s. The English journalist and writer F. Newton writes: “The hipster is a phenomenon of a new generation of northern blacks. Its development was closely intertwined with the history of modern jazz.
Unfortunately, unified, obscene expressions are becoming fashionable and standard, with which any everyday conversation of musicians, which is scarce in normal words, is often and inappropriately “powdered”. This poor and flawed language contrasts so strikingly with the beautiful music that these people create that the thought involuntarily creeps in that the speech image is an image contrived and "put on" by musicians for the disgusting fashion of being like others, revolving in the world of jazz. The world of jazz has another feature - to give nicknames (or nicknames) to musicians. These nicknames, "getting used" to the performer, become the second, and more often the main name of the artist. New names exist not only in oral appeals, they are assigned to musicians on records, in concert performances, on TV. Speaking about any jazz performer, we habitually pronounce his nickname, which appeared over time in his creative life. Here are some examples of the names and nicknames of the musicians whose work we consider in our work: Edward Kennedy Ellington - "Duke" ("Duke"), Thomas Waller - "Fats" ("Fat Man"), William Basie - "Count" ("Count ”), Willie Smith - “Lion” (“Lion”), Ferdinand Joseph La Ment Morton - “Jelly-Roll” (“Jelly Roller”), Earl Powell - “Bud”, Joe Turner - “Big Joe” (“ Big Joe"), Earl Hines - "Fatha" ("Daddy") - pianists; Roland Bernard Berigen (trumpet) - "Bunny", Charles Bolden (cornet trumpet) - "Buddy", John Burks Gillespie (trumpet) - "Dizzy" ("Dizzy"), Warren Dodds (drums) - "Baby", Kenny Clark (drums) - "Klook", Joseph Oliver (cornet) - "King" ("King"), Charlie Christoph Parker (alto saxophone) - "Bird" ("Bird"), William Webb (drums) - "Chick ”, Wilbor Clayton (trumpet) - “Buck”, Joe Nanton (trombone) - “Tricky Sam” (“Magician Sam”). To the listed pianists, we have added some famous musicians from the period of the 20s-40s. The tradition of "name-nicknames" is closely related to the history of jazz and originates from the first blues performers. The "renaming" of artists continues to live on in the following decades.
The second chapter "Dynamics of the Development of Jazz in the Artistic Culture of the 20th Century" consists of three paragraphs.
The first paragraph, "The Historical Change of Styles (Stride, Swing, Be-bop)" discusses the transitional period of the 1930s and 1940s in jazz history. Stride in its development was based on ragtime. This style - energetic, full of pulse was in tune with the emergence of an increasing number of mechanisms and various devices (cars, airplanes, telephones) that change people's lives, and reflected the new rhythm of the city, like other types of contemporary art (painting, sculpture, choreography). The pianistic performance of this period is diverse: playing in Dixieland compositions, in large orchestras, solo playing (stride, blues, boogie-woogie), participation in the first trios (piano, double bass, guitar or drums). New York pianists pioneered the Harlem Stride Piano style back in the 1920s, with the striding left hand coming from ragtime. The best performers saturated their game with the most dazzling effects. Stride can be conditionally divided into "early" and "late". One of the pioneers of the early stride, New York pianist and composer J.P. Johnson (James Price Johnson), combined ragtime, blues and all forms of popular music in his playing style, using the “paraphrase” technique in his playing. The "late" stride was dominated by T. F. Waller (Thomas "Fats" Waller) - the successor of Johnson's ideas, but concentrating his playing on composition, and not on improvisation. It was the game of T. F. Waller that spurred the development of the swing style. T. F. Waller drew more on popular music than ragtime or early jazz in his compositional work.

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

In the mid-40s, a galaxy of young musicians appeared who played in a new way. It was "modern jazz" or "be-bop". The "revolutionary" youth brought a different understanding of harmony, a new logic in the construction of phrases, new rhythmic figures. The new style is beginning to lose its entertaining function. It was a turn towards the seriousness, closeness and elitism of jazz.

One of the founders of be-bop was Thelonious Monk. He, along with other performers of this style, developed a new harmonic system. Another pianist, Bud Powell, studied Monk's voice leading and combined it with Parker's melodic approach in his playing. Rhythm is a key element in be-bop. Be-bop musicians played with a "light swing feel". The musical language of be-bop is filled with characteristic melodic figures, consisting of phrases, movements and embellishments. The fret theory that bebop players have come to use is something new in jazz. The repertoire of these musicians included blues themes, popular standards and original compositions. The "Standards" serve as key material for be-bop musicians.

The second paragraph "Outstanding Jazz Musicians of the First Half of the 20th Century" introduces portraits of outstanding musicians of the period of the 1930s and 1940s and their contribution to culture. One of the pioneering figures in transforming the sound of a large orchestra is Claude Thornhill. Pianist, arranger and leader of a big band, one of the creators of "cool" jazz. Bud Powell ("Bad" Earl Rudolph Powell) was the most important figure among be-bop pianists. This pianist, under the influence of C. Parker, successfully applied the findings and discoveries of this saxophonist in piano playing. The musicality of B. Powell was also based on his predecessors - A. Tatum, T. Wilson and on the work of the great J. S. Bach. The most original pianist of this period, the innovator Thelonious Sphere Monk created a unique style. Monk's melodies were usually angular, with unusual rhythmic-harmonic curves. T. Monk was an outstanding composer. He created miniature compositional constructions that are comparable to any classical work. Among the first bop pianists was Al Haig (Alan Warren Haig). In the second half of the 40s, he played a lot with the creators of be-bop Ch. Parker and D. Gillespie. E. Haig played an important role in the development of modern jazz piano playing. Another musician Elmo Hope (St. Elmo Sylvester Hope) at the beginning of his career was influenced by the playing of Bud Powell. In the military band of G. Miller, Louis Stein began his creative biography. An eclectic pianist with a light touch, he became a studio musician in the late 40s. Pianist and arranger Tadley Ewing Peake Dameron was one of the first significant composers of be-bop, combining swing and the beauty of the sound of an orchestra. Duke Jordan ("Duke" Irving Sidney Jordan) began his pianistic career playing in swing orchestras, and in the mid-40s he moved to the "boper camp". A lyrical, inventive musician, he is also known as a prolific composer. Creative, active pianist Hank Henry Jones was stylistically formed under the influence of E. Hines, F. Waller, T. Wilson, A. Tatum. H. Jones possessed an exquisite "touch", "weaving" unusually plastic melodic lines in his playing. Another performer - Dodo Marmarosa (Michael "Dodo" Marmarosa), in the early and mid-40s, played in the most famous orchestras: J. Krupa, T. Dorsey and A. Shaw.

Summing up the work of the most significant pianists of the three styles (stride, swing and be-bop), it is necessary to separately note the creative finds and contribution to the musical culture of a special number of musicians. One of the first in this series was certainly Artthur Jr. Tatum, the brightest "star" of classical jazz piano. He combined the emerging swing style with the more virtuosic elements of the stride. Pianist Nathan "King" Cole (Nathaniel Adams "King" Cole) recorded some great samples in a trio (piano, guitar, double bass) in the 40s; Negro pianist-virtuoso Oscar Emmanuel Peterson (Oscar Emmanuel Peterson), who grew up on the traditions of the stride, developed this style, complementing it with an elastic, biting phrase; self-taught pianist Erroll Louis Garner appears in New York in 1944 and soon conquers the jazz Olympus, shining with his unique style of playing chords; The white, blind English musician George Albert Shearing, inspired by F. Waller and T. Wilson, rose to prominence in the jazz scene by moving to New York in 1947. The last three of the above-named performers brought the viewer an incredible joyful charge of energy coming from familiar songs and melodies, refracted by these pianists through the prism of each of them's individual style. At the end of the 1940s, the bright star of the young Dave Brubeck (David Warren Brubeck), who studied composition under the guidance of D. Milhaud and music theory under A. Schoenberg, rises. Pianist D. Brubeck plays in an expressive and "attacking" style, has a powerful touch, experiments with harmony and combination of sizes, an original subtle melodist.

The third paragraph deals with "The Interpenetration and Mutual Influence of Jazz and Other Art Forms".

The first decades of the 20th century are characterized by the introduction of jazz music into other art forms (painting, literature, academic music, choreography) and into all spheres of social life. So, the Russian ballerina Anna Pavlova in 1910 in San Francisco was delighted with the dance "Turkey Trot", performed by Negro dancers. The great artist was eager to embody this in Russian ballet. New music in its depths formed the creators of new trends in jazz, capable of isolating it as an art filled with deep intellect, denying its accessibility. Cultural avant-gardists hailed jazz as the music of the future. The air of the "jazz era" was especially close to the artists. American writers who created a number of their works to the "sounds" of jazz - Ernest Hemingway, Francis Scott Fitzgerald, Dos Passos, Gertrude Stein, poet Ezra Pound, Thomas Stearns Eliot. Jazz created at least two types of literature - blues poetry and autobiography in the form of a story. Fashion writers, literary critics, and journalists published in jazz reviews for urban intellectuals.
In their statements about jazz E. Anserme, D. Milhaud demonstrated the breadth of views. The longest list of works of art created under the influence of jazz are the works of academic composers: "Child and Enchantment" and piano concertos by M. Ravel, "The Creation of the World" by D. Milhaud, "The Story of a Soldier", "Ragtime for Eleven Instruments" by I. Stravinsky, “Johnny plays” by E. Krenek, music by C. Weill for productions by B. Brecht. Jazz and hybrid jazz since the beginning of the 30s, performing the applied functions of music (relaxation, accompaniment of meetings, dances), processed all popular melodies and songs from musicals, Broadway productions, shows and even some classical themes.

In 1938, Dorothy Baker's jazz novella Young Man With a Horn was published. This work was repeatedly reprinted and its plot formed the basis of the film of the same name. Unstoppable, seething, creative passions were filled with the works of poets and writers of the era of the "Harlem Renaissance", who revealed new authors: Kl. МакКэя (новелла «Банджо»), К. В. Вэчтена («Nigger Heaven» – роман о Гарлеме), У. Турмана («Infants of the Spring», «The Black the Berry»), поэта К. Каллена. In Europe, under the influence of jazz, several works by J. Cocteau, the poem "Elegy for Herschel Evans", "Piano-poem in prose" were created. Writer D. Keruok created the novel "On the Road", written in the spirit of "cool jazz". The strongest influence of jazz manifested itself among Negro writers. So, the poetic works of L. Hughes resemble the lyrics of blues songs.

Jazz musicians have also found themselves in the center of fashion attention. The stage image of jazz artists (impeccably dressed "dandies", pomaded beauties) was actively introduced into the consciousness, becoming an example for imitation, the styles of soloists' concert dresses were copied. Musicians of the "be-bop" style in the mid-40s became revolutionaries in fashion. Their features in the manner of dressing and behavior are instantly adopted by crowds of young fans and a cast of "hipsters".

Jazz poster art developed along with this music. Also, the active sale of records, starting from the 20s, brought to life the profession of record sleeve designer (first at 78 rpm, later at 33.3 rpm, - LP's - short for Long Playing). Recordings on records were the most important part of the musicians' work, along with the nightly concert life. The number of record labels has steadily increased. The quality of recordings improved, sales of records grew, jazz fans, collectors, researchers, and critics were interested in them. Envelope designers competed, finding new, catchy, original ways of design. New musical art and new painting were introduced into the culture, because often an abstract-stylized image of the composition of musicians or the work of a contemporary artist was placed on the front of the envelope. Jazz records have always been distinguished by high-level design, and today these works cannot be reproached with a “help” to popular culture or kitsch.
Let's name another art that has felt the influence of jazz - this is photography. A huge amount of information about jazz is stored in the world photo archive: portraits, moments of the game, the reaction of the audience, musicians outside the stage. All this conveys to us frozen flashes-sketches of almost all periods of the formation of jazz. The union of jazz with cinema was also successful. It all started on October 6, 1927, with the release of the first musical sound film, The Jazz Singer. And further, in the 30s, films were released with the participation of the blues performer B. Smith, the orchestras of F. Henderson, D. Ellington, B. Goodman, D. Krupa, T. Dorsey, K. Calloway and many others. These are plot films, concert films, and cartoons with a jazz "sound track" (soundtrack). In the 1940s, pianists A. Ammons and O. Peterson voiced animated films with their solo playing. During the war years (in the 40s), the big bands of G. Miller and D. Dorsey were involved in filming to raise the morale of servicemen who were fulfilling their duty to their homeland.

The connection between dance and jazz art deserves special attention. Fast dances, and, consequently, dance halls in the 30s and 40s were very popular among young people. There was a fashion for spending evenings in large ballrooms, where dance marathons were also held. The Negro performers showed the wide possibilities of stage dancing, demonstrating acrobatic figures and "shuffling" with their feet (or tap dancing). The legendary dancer B. Robinson, choreographer B. Bradley, dance innovators D. Barton, F. Sondos, creating masterpieces on the stage, set an excellent example for the dancing masses and encouraged them to copy. In the mid-30s, the term "jazz dance" referred to various types of dances to swing music. In the beginning, the word "jazz" may have been an adjective, reflecting a certain quality of movement and behavior: lively, improvised, often sensual and with a bizarre rhythm. Jazz dance was originally limited to some of the most syncopated popular dances influenced by the African-American traditions that were characteristic of the South of the United States. The great success of the Broadway revue Shuffle Along in 1921, in which only Negro artists participated, showed the wide possibilities of stage dance, presented the audience with a galaxy of talented jazz dancers. The performers demonstrated both careful “shuffling” with their feet (“Tap Dancing” or tap dance) and acrobatic dances. Tap dancing is becoming more and more popular and dancers incorporate many of its key figures into their performance. The 1930s and 1940s are referred to as the "Golden Age of Tap". The popularity of tap is growing significantly, the dance moves to the movie screens.

At the same time, most of the differences between dance traditions, between music and dance, were erased by the growing commercialization of big bands and the transformation of this music into show business. After World War II, the new style of be-bop sounded not in dance halls, but in nightclubs. A new generation of tap dance masters B. Buffalo, B. Lawrence, T. Hale grew up on boper rhythms. Gradually formed the choreographic image of jazz. Masters of tap dancing (brothers Nichols, F. Astaire, D. Rogers) educated and instilled taste in the audience with refined artistry, brilliant professionalism. Black dance groups with plasticity, acrobatics and innovative finds formed the future choreography, closely related to jazz, and which fit perfectly into energetic swing.

The dynamics of culture received an impetus for the implementation of a pluralistic model of development. The new wave of jazz culture, invading the traditional cultural space, has made significant changes, changing the value system. The influence and penetration of jazz into painting, sculpture, literature, culture has led to a constant expansion of the cultural space, the emergence of a fundamentally new cultural synthesis.
In the "Conclusion" the ways of development of jazz from the phenomenon of mass culture to the elite art are indicated, the work of pianists of the period of the 30-40s of the XX century is summarized. The results of the study of the stride, swing and be-bop styles are given, and the subcultures born of these styles are indicated. Attention is paid to the relationship between jazz and other types of art - the process of forming the language of modern culture. Jazz evolves over the course of the 20th century, leaving its mark on the entire cultural space. The need to continue a purposeful study of the interaction between jazz music and other art forms is shown.

Jazz piano performance of the 30s–40s of the XX century // Proceedings of the Russian State Pedagogical University. A. I. Herzen: Ph.D. tetra. : scientific magazine - 2008. - No. 25 (58). – S. 149–158. -1.25 p. l.

To the anniversary of jazz // Proceedings of the Russian State Pedagogical University. A. I. Herzen: Ph.D. tetra. : scientific magazine - 2009. - No. 96. - S. 339–345. - 1 p. l.

Jazz as a source of innovations in the art of the twentieth century // Izvestiya of the Russian State Pedagogical University. A. I. Herzen: Ph.D. tetra. : scientific magazine - 2009. - No. 99. - P. 334-339. - 0.75 p. l.

In other editions:

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

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

6. Stylistic features in the work of outstanding jazz pianists of the 1930s and 1940s: solo improvisation and accompaniment: textbook. allowance. SPb. : SPbGUKI, 2007. - 10 p.

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

8. On the jazz master class at the Bavarian Academy of Music // Proceedings of the conference at the Bavarian Academy of Music. - Markt-Oberdorf, 2007. - 0.5 p. - On him. lang.

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

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

11. Influence of the course "outstanding performers in jazz" on the process of formation and expansion of the student's professional interest in the chosen specialty // Paradigms of culture of the XXI century: coll. articles based on the materials of the conference of graduate students and students April 18–21, 2008. - St. Petersburg: SPbGUKI, 2009. - 0.5 p.

Announcement of the defense of the dissertation for the degree of Candidate of Science at the St. Petersburg State University of Culture and Arts

Council for the defense of doctoral and master's theses D 210.019.01
at the St. Petersburg State University of Culture and Arts, FAKK RF, 191186 St. Petersburg, Palace Embankment, 2 tel. 312-12-61
announces that Kornev Petr Kazimirovich
presented a dissertation for the degree of Candidate of Sciences "Jazz in the cultural space of the twentieth century" in the specialty 24.00.01 "Theory and history of culture" (culturology).

Chairman of the council for the defense of doctoral and master's theses D 210.019.01
Doctor of Philosophy, Professor
S.N. Ikonnikova

Kornev Petr Kazimirovich
"Jazz in the Cultural Space of the 20th Century"
24.00.01
cultural studies
D 210.019.01
St. Petersburg State University of Culture and Arts
191186, St. Petersburg, Palace Embankment, 2
Tel. 312-12-61
Email: [email protected]
Estimated date of defense of the dissertation - June 16, 2009