Jazz is a unique phenomenon of musical art.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What is jazz?

Character traits:

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

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

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

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

The history of jazz

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

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

History of jazz development

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In the 70s, personnel training began in the pop departments music schools, teaching aids, sheet music, and records are published.

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

Jazz in the modern world

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

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

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

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

We offer training at our music school:

• piano lessons - a variety of pieces from classical to modern pop music, visibility. Available to everyone!
• guitar for children and teenagers - attentive teachers and exciting lessons!

Jazz touches many sides human life: from the deep emotional feelings of an individual listener to a culture of thinking on a large scale. As one of the brightest trends in art, jazz music has inspired people for decades to undertake numerous historical musical studies, progressive methods in composing jazz improvisations, and educational activities; this is where the great influence of jazz lies.

Taking into account that, according to the most common description of the concept, “culture of thinking” is a certain synthesis of acquired and improved human qualities, we will highlight the most important of them and trace the relationship of the influence of jazz on their development.

The influence of jazz from a scientific point of view

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 complex trends 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 and instrumental solo improvisations. In addition to the above, these jazz styles require excellent reaction speed and constant executive control, and as a result, the neural connections of the brain improve, which is what Dr. Robert Zatorr explores in his scientific works:

We examine the effects of music on cognitive properties of the brain and auditory regions, with a particular focus on studying the interactions between these systems in a musical context.

Candidate cultural sciences Konstantin Ushakov created an entire dissertation, in which a significant part is devoted to the direct influence and evolution of jazz itself and, accordingly, to changes in the cultural thinking of people.

The scientist describes and discusses jazz in detail from the time of its formation to its state today, while simultaneously analyzing each turning point in history. Jazz in its influence is able to combine several accents that improve a person’s mental abilities: learning ability, speed of reaction, innovative approach and the development of logical thinking.

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

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

So, we realize that, among other things, jazz helps people get rid of their moral shortcomings, which in turn leads to the next stage of personal development - tranquility. This concept can mean a lot, but it is worth highlighting such factors as moral stability and a prevailing 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 proportion of people who listen to jazz in complex professions that require increased concentration: surgeons, directors of large corporations and enterprises, scientists. 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 strive to expand their preferences, which also leads to the development of good taste.

Soul, swing?

Probably everyone knows how a composition in this style sounds. This genre arose at the beginning of the twentieth century in the United States of America and represents a certain combination of African and European culture. Amazing music almost immediately attracted attention, found its fans and quickly spread throughout the world.

It is quite difficult to convey a jazz musical cocktail, since it combines:

• bright and lively music;
• the unique rhythm of African drums;
• church hymns of Baptists or Protestants.

What is jazz in music? It is very difficult to define this concept, since it contains seemingly incompatible motives, which, interacting with each other, give the world unique music.

Peculiarities

What are the characteristic features of jazz? What is jazz rhythm? And what are the features of this music? Distinctive features styles are considered:

• a certain polyrhythm;
• constant pulsation of bits;
• a set of rhythms;
• improvisation.

The musical range of this style is colorful, bright and harmonious. It clearly shows several separate timbres that merge together. The style is based on a unique combination of improvisation with a pre-thought-out melody. Improvisation can be practiced by either one soloist or several musicians in an ensemble. The main thing is that the overall sound is clear and rhythmic.

Jazz history

This musical direction has developed and been shaped over the course of a century. Jazz arose from the very depths of African culture, as black slaves, who were brought from Africa to America in order to understand each other, learned to be one. And, as a result, they created a unified musical art.

The performance of African melodies is characterized by dance movements and the use of complex rhythms. All of them, together with the usual blues melodies, formed the basis for the creation of a completely new musical art.

The whole process of combining African and European culture in jazz art began at the end of the 18th century, continued throughout the 19th century, and only at the end of the 20th century led to the emergence of a completely new direction in music.

When did jazz appear? What is West Coast Jazz? The question is quite ambiguous. This trend appeared in the south of the United States of America, in New Orleans, approximately at the end of the nineteenth century.

The initial stage of the emergence of jazz music is characterized by a kind of improvisation and work on the same musical composition. It was played by the main trumpet soloist, trombone and clarinet performers in combination with percussion musical instruments against the backdrop of marching music.

Basic styles

The history of jazz began quite a long time ago, and as a result of the development of this musical direction, many different styles appeared. For example:

• archaic jazz;
• blues;
• soul;
• soul jazz;
• scat;
• New Orleans style of jazz;
• sound;
• swing.

The birthplace of jazz left a big imprint on the style of this musical movement. The very first and traditional type created by a small ensemble was archaic jazz. Music is created in the form of improvisation on blues themes, as well as European songs and dances.

Blues can be considered a fairly characteristic direction, the melody of which is based on a clear beat. This type of genre is characterized by a pitiful attitude and glorification of lost love. At the same time, light humor can be traced in the texts. Jazz music implies a kind of instrumental dance piece.

Traditional black music is considered to be a soul movement, directly related to blues traditions. New Orleans jazz sounds quite interesting, which is distinguished by a very precise two-beat rhythm, as well as the presence of several separate melodies. This direction is characterized by the fact that the main theme is repeated several times in different variations.

In Russia

In the thirties, jazz was very popular in our country. Soviet musicians learned what blues and soul are in the thirties. The attitude of the authorities towards this direction was very negative. Initially jazz performers were not prohibited. However, there was quite harsh criticism of this musical direction as a component of the entire Western culture.

In the late 40s, jazz groups were persecuted. Over time, repressions against musicians ceased, but criticism continued.

Interesting and Fascinating Facts about Jazz

The birthplace of jazz is America, where various musical styles were combined. For the first time this music appeared among the oppressed and disenfranchised representatives African people who were forcibly taken away from their homeland. In rare hours of rest, the slaves sang traditional songs, clapping their hands to accompany themselves, since they did not have musical instruments.

At the very beginning it was real African music. However, over time it changed, and motifs of religious Christian hymns appeared in it. At the end of the 19th century, other songs appeared in which there was protest and complaints about one’s life. Such songs began to be called blues.

The main feature of jazz is considered to be free rhythm, as well as complete freedom in melodic style. Jazz musicians had to be able to improvise individually or collectively.

Since its inception in the city of New Orleans, jazz has gone through a rather difficult path. It spread first in America, and then throughout the world.

The best jazz performers

Jazz is a special music filled with unusual inventiveness and passion. She knows no boundaries or limits. Famous jazz performers are able to literally breathe life into music and fill it with energy.

The most famous jazz performer is Louis Armstrong, revered for his lively style, virtuosity, and inventiveness. Armstrong's influence on jazz music is invaluable, as he is greatest musician of all times.

Duke Ellington made a great contribution to this direction, as he used his musical group as a musical laboratory for conducting experiments. Over all the years of his creative activity, he wrote many original and unique compositions.

In the early 80s, Wynton Marsalis became a real discovery, as he chose to play acoustic jazz, which created a real sensation and provoked a new interest in this music.

INTRODUCTION

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

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

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

2.1 Features of organizing a music lesson at school

2.2 Lesson outline

2.3 Lesson analysis

CONCLUSION

LITERATURE

INTRODUCTION

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

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

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

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

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

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

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

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

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

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

Based on the goal, the following tasks were identified:

Consider theoretical basis teaching music in secondary schools;

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

Monitor how children perceive jazz music in the classroom;

Analyze the effectiveness of such a lesson.

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

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

1.1 Methodological basis for the formation of musical preferences among students

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. Stage-by-stage, gradualism.

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

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

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

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

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

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

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

Music teachers have more than once raised the question of the importance of ensuring that every schoolchild can feel confident in the opportunity to comprehend the meaning of music and enter into a spiritual dialogue with it. From our point of view, bringing students closer to understanding complex musical compositions perhaps through the formation of their experience of ways of comprehending music, identifying the meanings contained in it. Considering the uniqueness of each jazz piece and each of its perception, in the most general sense, the ways of the listener’s comprehension of a musical work, in our opinion, are: the listener’s awareness of the feeling of the surrounding world that the author shares, the disclosure of the value position conveyed in the music, the awareness of the generalized thought of the work.

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

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

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

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

The Europeans had no idea that, along with the slaves transported to the American continent, they brought there African musical culture, which is distinguished by its amazing attention to musical rhythm. In the homeland of Africans, music was an indispensable component of various rituals. Rhythm was of enormous importance here, being the basis of collective dance, collective prayer, in other words, collective ritual. The characteristic features of African folk music are polyrhythm, rhythmic polyphony and cross-rhythm. Melody and harmony here are almost in their infancy. This means that African music is freer and has more room for improvisation. So, together with black slaves, Europeans brought to the American continent what became the rhythmic basis of jazz music.

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

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

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

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

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

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

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

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

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

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

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

2.1 Features of organizing a music lesson at school

As we have already noted, in modern society music occupies a special, far from least, place. Even ancient philosophers described the positive therapeutic effect of music on humans. Plato argued that it is a heaven-sent ally in our quest to bring order and harmony to any disharmony of the mind. The followers of Pythagoras developed a method of musical psychotherapy, which included a daily program of songs and musical pieces for the lyre, which gave people vigor in the morning and then relieved the stress of the past day. preparing a person for a restful sleep with pleasant and prophetic dreams. In the minds of the ancients, music had a tonic and restorative effect, because it was capable of reuniting the alienated individual with the harmony of the Cosmos.

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

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

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

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

The practical significance of the modern lesson is:

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

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

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

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

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

1) communicative, related to communication about music;

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

3) suggestive, associated with suggestion;

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

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

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

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

8) aesthetic, involving the receipt of aesthetic pleasure.

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

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

jazz lesson music education

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

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

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

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

The complex of components of the musical educational process aimed at developing the listening musical culture of teenage schoolchildren can be described as follows:

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

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

2.2 Lesson outline

TOPIC: “The Origins of Jazz”

Goals :

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

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

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

Lesson type: formation of new knowledge

Lesson form: combined lesson

Visibility:

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

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

• maracas,
• dishes,
• triangles.

1. ORGANIZATIONAL MOMENT

Musical greeting from the teacher.

Today I didn’t come to class alone. With me is a mysterious gentleman whose name we do not know. Who is he? Where did he come to us from? What is his character? This is still a mystery to us. But I propose to determine his name based on the musical letter he addressed to you. (A distinct jazz musical fragment sounds)

Help me guess the name of the mysterious stranger.

Children: Jazz.

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

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

2. FORMATION OF NEW KNOWLEDGE

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

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

What a strange name?

Some kind of nickname?

Who is he? - some were indignant.

Who is he!!! - others admired.

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

Have you heard the noise it makes?

Have you seen how free he is in his movements?

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

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

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

Here, as throughout the South of America, many blacks lived, former slaves from plantations.

Question: Do you think life was difficult for blacks at that time?

Small orchestras drove around in trucks and staged real musical battles. The assembled crowd judged.

Question: Do you know what fate awaited the defeated orchestra?

With noisy joy, the crowd tied one truck to another - the vanquished dragged the winners. This is the kind of street education our Jazz received as a child.

The tomboy from the street grew up, and at about 15 years old he left his hometown to see people and show himself. And besides, the time has come to think about making money. Most of the work turned out to be in two American cities - Chicago and New York. He liked the work - entertaining the public with music and dancing in clubs and entertainment venues.

So it went early youth our Jazz...

And a few years later Jazz already had world fame. Jazz traveled throughout America and Europe. I also visited our country. And I managed to make true friends everywhere. Talented people in different countries they not only imitated Jazz, but did it in their own way.

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

3. LISTENING

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

WORK IN TERMINOLOGICAL DICTIONARIES

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

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

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

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

Jazz has matured. He was tired of the fame of a restless merry fellow and dancer. He wanted to be treated attentively and seriously, to be loved not only in moments of noisy entertainment. His character became changeable. Previously, he was praised for his hot temperament, but now he was seen as too calm, sometimes even cold. And sometimes he was somehow twitchy and nervous. And he no longer shunned noble society - he began to be seen at the Philharmonic and the Opera House.

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

Jazz is the same age as the 20th century and one of its biggest celebrities. It is already over 100 years old. By human standards, he is an old man. And musically, his age is a mere trifle. After all, a lot of things in music live for centuries and even millennia.

4. SECURING

GAME “Choose your tools”

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

Now let's try to create an image of Jazz using musical colors. To do this, we need to select tools that are characteristic only of it. (The teacher shows the instruments, the children signal with cards the presence of an instrument in the jazz band).

Conclusion: the favorite instruments of Jazz are: trumpet, trombone, clarinet, piano, double bass, saxophone, guitar, drums - drums, cymbals.

5. VOCAL-CHORAL WORK

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

Learning the song "Mr. Bug"

Music G. Gladkova, lyrics. J. Ciardi

1. I once knew the red Mr. Beetle.

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

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

Mr. Bug is a big weirdo.

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

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

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

Get off me, I'm drowning!"

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

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

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

I love water sports!

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

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

I'm used to doing everything myself.

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

I’m used to doing everything myself.”

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

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

Children: Jazz.

Teacher: With the help of what musical means Did you decide on a musical style so quickly?

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

2) Game “Musical Echo”

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

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

Learning phrases;

Singing from notes;

The first verse with the words;

3) singing via video karaoke;

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

After performance - praise:

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

6. LISTENING

So, the image of a mysterious gentleman emerges.

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

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

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

2.3 Lesson analysis

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

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

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

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

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

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

CONCLUSION

Summarizing our research, we can draw the following conclusions:

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

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

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

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

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

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

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

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

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

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

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