Jazz is a unique art of the 20th century. The Influence of Jazz Style Elements on the Formation of Students' Musical Taste

It is known that jazz art has vocal roots and is largely based on the principles developed by the art of singing. However, these principles are implemented mainly in the instrumental embodiment (see about this:). Thus, the whole history of jazz is a struggle between vocal and instrumental beginnings. The dialectic of the relationship between these principles leads to the fact that in different jazz eras either vocal or instrumental dominated. If the vocal beginning prevailed in the pre-jazz era, then the first wave of instrumentalization of jazz is associated with the New Orleans period that followed it. The next step towards the instrumentalization of jazz is associated with the appearance in the 40s of the XX century. new jazz trend - bebop. Soon, on its basis, an opposite trend was formed and is expanding today: the desire of some jazz vocalists to include in their work the techniques and techniques of other directions that were traditionally considered exclusively instrumental. This phenomenon is associated primarily with the names of Ella Fitzgerald, Sarah Vaughan, Babs Gonzales, Anita O'Day, Dee Dee Bridgewater, Betty Carter (Betty Carter), Eddie Jefferson (Eddie Jefferson), King Pleasure (King Pleasure), Kevin Mahogeni (Kavin Mahogany), Bobby McFerrin (Bobby McFerrin), etc. As a result, a number of striking examples of the vocal embodiment of the instrumental principles of bebop have emerged.

In order to understand the specifics of the implementation of bebop traditions in vocal performance, it is first necessary to consider these two components separately, and then to establish the principles of their interaction with each other. Therefore, it is advisable to analyze the origin and nature of each of the phenomena in order to discover the general sphere in which their relationship became possible. But since each of the components, especially bebop, contains controversial points, and a unified methodology for considering this phenomenon has not been formed, it is necessary to characterize the theoretical foundations on which it is possible to study jazz art.

Theoretical and methodological foundations for the study of jazz music

Jazz - one of the brightest phenomena of world art - attracts the attention of many researchers who are trying to comprehend its phenomenon. The evolution of jazz from Negro semi-professional everyday music-making to universal international art took place in the shortest possible time - in just over a hundred years, jazz in a peculiar way repeated the main stages in the development of European academic music.

There is a huge amount of research concerning the problems of jazz. They belong to both foreign and domestic authors. In Slavic musicology during the Soviet period, there was a shortage of research on jazz In view of the persecution of jazz by the Soviet authorities [Batashev, Soviet Jazz].. The first fundamental collective work on jazz was published only in 1987 - “Soviet Jazz. Problems. Developments. Masters". Among the authors of this study are A. Medvedev, O. Medvedeva, V. Feiertag, E. Barban, A. Batashev, L. Pereverzev, V. Oyakyaer, D. Ukhov and others. . Konen .

Activization of attention to jazz art among Ukrainian musicians and musicologists has been observed only in the last 10-15 years. The tradition of studying jazz was laid by V. Simonenko and V. Olendarev. Among the young Ukrainian researchers can be named V. Tormakhova, S. Davydov. Among the authors of individual articles are M. Gerasimova, E. Voropaeva, A. Zozulya, L. Kondakova and others. In Ukraine, the need for scientific research on jazz has grown due to the intensive development of jazz education in the country. However, at the moment, the works of Slavic musicologists either have a narrow focus (for example, the dissertation of A. Fisher, where bebop is considered outside the context of world art), or extremely broad, but with some leveling of jazz specifics (the dissertation of V. Tormakhova). Of particular note is the value of the article by S. Davydov "On the Question of Text Interpretation in Jazz Music", which reveals jazz specifics in terms of reading the musical text, and the relevance of M. Gerasimova's article "On the Problem of Vocal Improvisation in Jazz", which laid the foundation for research in the field of jazz singing .

Naturally, most of the work on jazz problems belongs to foreign, mainly American researchers. But, unfortunately, foreign studies often do not correspond to the domestic professional musicological scientific system. In addition, the works of American researchers often contain only a critical view of the author himself on a particular problem or phenomenon. Along with this, there are no studies in which jazz could be included in the general orbit of world academic musicology. Consequently, there are no historical-logical and fundamental-theoretical factors that unite jazz with world music.

Thus, in domestic jazz studies, there is an unformed methodology for studying jazz problems, since our musicological science has begun to seriously deal with this issue relatively recently. As for foreign research, they are carried out in their own very closed system, based on methodological and technological principles.

Nowadays, it is in jazz studies that most of the research exists not in the traditional "book" form, but in Internet publications. These include domestic web portals Jazz.Ru, UKRjazz, the website "A. Kozlov's Musical Laboratory", electronic jazz magazines "Jazz-square" and "Full Jazz", etc. Among foreign Internet publications containing information about jazz , you can call the portal "Wikipedia, the free encyclopedia", as well as personal sites of musicians - jazz stars. The main problem of working with such publications is that they are full of unverified information, which often contains contradictions (the texts are written by different authors, often without reference to the source). However, the Internet greatly expands the possibilities of a modern jazz researcher, who has access to audio recordings of various genres and periods, biographical data from the official websites of jazz performers, scientific and journalistic publications of researchers from different countries, including the American continent.

As the researchers note, the main paradox is that even a single definition of jazz has not been developed to this day. So, according to V. Simonenko, jazz is a kind of professional art. A. Batashev calls jazz an original type of modern music-making, noting that “jazz as a whole is no longer so much a genre and not just any one style, but a kind of musical improvisational art, in which the traditions of the musical cultures of large ethnic regions - African, American , European and Asian". Apparently, the lack of a universal definition of jazz significantly complicates the analysis of jazz music, the periodization of jazz movements and trends, and gives rise to discrepancies in their assessment. In jazz studies itself, there is no consensus on how the musical categories of style, genre, musical work operate in relation to the art of jazz.

The discrepancy between the terminological apparatus of jazzology and academic musicology, the lack of formation of a common methodological foundation leads to the fact that, on the one hand, similar phenomena in jazz and classical music not only receive different names, but are also interpreted differently (first of all, this refers to the definition of musical forms ). On the other hand, the significant influence of the American scientific tradition does not allow even a native jazz researcher to use common terminology. A. Kozlov in a brief preface to his “Encyclopedia of Styles of the 20th Century” admits that he avoids using the concept of genre in relation to non-academic music of the 20th century, in particular jazz, because he does not fully understand what are the criteria for its application in this area.

From this arises the problem of identifying bebop as a genre or as a style of jazz. At the moment, in almost all sources - both foreign and domestic - there is a definition of bebop as a jazz style. A. Batashev, for example, points out that the concept of style in musicology is quite capacious, therefore, works containing the same set of expressive means combined according to the same rules belong to the same style. Thus, dixieland, swing, bebop, cool, etc., are classified by the author as jazz styles. However, today it can be assumed that jazz as a kind of music-making can be called a genre. In our opinion, the classification of bebop as a style is due to the fact that, given the individual performing dominant of jazz music-making, one may not notice the already established traditions of genre formation. As E. Nazaikinsky notes, from a certain period in the development of musical art, the crystallization of the genre begins. This stage is associated with the professionalization of art, which corresponds to the stage of bebop and its role in jazz evolution. With the development of jazz in the post-bop era, the principles of bebop began to be used in other genres or more freely interpreted. Different stylistic "readings" of bebop traditions began to play a big role. Therefore, at the level of a musical work, one can speak of bebop as a genre style.

As a manuscript

KORNEV Petr Kazimirovich Jazz in the cultural space of the XX century

24.00.01 - theory and history of culture

St. Petersburg 2009

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

Scientific adviser -

doctor of cultural studies, and. about. Professor E. L. Rybakov

I. A. Bogdanov, Doctor of Arts, Professor

I. I. Travin, Candidate of Philosophical Sciences, Associate Professor

Official opponents:

Lead organization -

Saint Petersburg State University

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

191186, St. Petersburg, Palace Embankment, 2.

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

Scientific Secretary of the Dissertation Council Doctor of Cultural Studies, Professor

V. D. Leleko

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

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

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

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

Tina. The problems of style formation and harmony are considered in the works “Jazz Swing” by I. V. Yurchenko and in the dissertation of A. N. Fisher “Harmony in Afro-American jazz of the period of stylistic modulation - from swing to be-bop”. A large amount of factual material, corresponding to the time of understanding and the level of development of jazz, is contained in domestic publications of a reference-encyclopedic nature.

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

The subject of the study is the specificity and socio-cultural significance of jazz 3 (M0s of the XX century.

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

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

To identify the origins of new styles and trends: stride, swing, be-bop in the 30-40s of the XX century;

The theoretical basis of the dissertation research is a comprehensive cultural approach to the phenomenon of jazz. It allows you to systematize the information accumulated by sociology, cultural history, musicology, semiotics and, on this basis, determine the place of jazz in the world artistic culture. To solve the tasks, we used

the following methods: integrative, involving the use of materials and research results of a complex of humanitarian disciplines; systemic analysis, which makes it possible to reveal the structural interrelations of stylistic multidirectional currents in jazz; a comparative method that contributes to the consideration of jazz compositions in the context of artistic culture.

Scientific novelty of the research

The originality of jazz of the 30-40s was determined, the features of piano jazz (stride, swing, be-bop), the innovations of performers that influenced the formation of the musical language of modern culture were studied;

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

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

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

The first chapter "The Art of Jazz: From Mass to Elite" consists of three paragraphs.

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

In the first paragraph, "The development of jazz in the first half of the 20th century," the world of culture of the early 20th century is considered, in which new artistic trends and trends arose. Impressionism in painting, avant-gardism in music, modernism in architecture and new music, which arose at the end of the 19th century, won the sympathy of the public.

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

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

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

The second paragraph, "Peculiarities of Jazz Culture", discusses the formation of jazz, discussed by theorists and researchers. Jazz has been called both "primitive" and "barbarian". The paragraph explores different points of view on the origin of jazz. The culture of the Negro people has taken a form of self-expression, which has become part of everyday life in the conditions of American life.

The peculiarities of jazz include the original nature of the sound of instruments. A common music for dances and parades appeared, in which each instrument had its own "voice". The ensemble "weaving" of the melodic lines of the instruments was later called "New Orleans music" after the place of its birth. The first and most important instrument in jazz is the human voice. Each outstanding vocalist creates a personal style. Drums and percussion go back to "African" music, however, jazz playing on these instruments differs from the traditions of "African" performance. Surprise, childishness, seriousness became new features of jazz drums.

comic spirit, effects - stops, sudden silence, return to rhythm. Jazz drums are ultimately an ensemble instrument. Other rhythm section instruments - banjo, guitar, piano and double bass make extensive use of two roles: individual and ensemble. The trumpet (cornet) has been a leading instrument ever since the New Orleans marching bands. Another important instrument was the trombone. The clarinet was the "virtuoso" instrument of New Orleans music. The saxophone, which appeared only slightly in New Orleans music, gains recognition and popularity in the era of large orchestras. The role of the piano in the history of music is enormous. Jazz has found three approaches to the sound of this instrument. The first one is based on excellent sonority, impact intensity, use of loud dissonances; the second approach is also "percussive" piano, but with an emphasis on pure intervals; and third, the use of continued notes and chords. Prominent performers of ragtime and pieces in this style were professionally trained pianists (D. R. Morton, L. Hardin). They brought much of the world's musical culture to jazz. New Orleans jazz took on a variety of forms because music played many social and community roles in urban culture. From ragtime, instrumental jazz received a virtuosity that was lacking in folk blues. The behavior of the performers differed sharply from the restrained, classical one - shouting, singing, pretentious clothes become integral features of early jazz performers. Much of what is in today's music was in its infancy in New Orleans music. This music gave the world such creative musicians as J. K. Oliver, D. R. Morton, L. Armstrong. The closure of Storyville, part of New Orleans, in 1917 contributed to the spread of jazz. The movement of jazz musicians to the North allowed this music to become the property of all America: blacks and whites, East and West coasts. Jazz music not only had a strong impact on popular and commercial music, but also acquired the features of a complex artistic and musical art, becoming an integral part of modern culture.

The new music included everything that is called jazz, including its various interpretations. According to the English researcher F. Newton, the music that average Americans and Europeans listened to from 1917 to 1935 can be called hybrid jazz. And she made up about 97% of the music that was listened to under the label of jazz. Jazz performers sought to achieve a more serious attitude towards their work. Thanks to the fashion for everything American, hybrid jazz spread everywhere with space speed. And after the crisis of 1929-1935, jazz regained its popularity. Simultaneously with the trend of new music towards seriousness, pop music has almost completely adapted Negro instrumental technique and arrangements using the name "swing". The internationality and mass nature of jazz gave it a commercial character. However, jazz was

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

The phenomenological setting is aimed at revealing how jazz is presented to us, exists for us. And, of course, jazz is the music of the performers, subordinated to the individuality of the musician. The art of jazz is one of the significant means of educating culture in general and aesthetic culture in particular. The brightest jazz musicians had the ability to win over the audience and evoke a wide range of positive emotions. These musicians can be attributed to a special group of people who are distinguished by high sociability, since in jazz the spiritual becomes visible, audible and desirable.

The third paragraph "Jazz Subculture" examines the existence of jazz in society.

Social changes in the life of Americans begin to appear by the beginning of the 30s. They successfully combine diligent work with evening rest. These changes led to the development of new institutions - dance halls, cabarets, ceremonial restaurants, nightclubs. In New York City's disreputable neighborhoods, San Francisco's bohemian (Bar-bary Coast) and Negro ghettos, there have always been unofficial places of entertainment. Nightclubs grew out of these early dance and cabaret halls. The clubs that sprang up after the First World War were most like music halls. The development of clubs and the spread of jazz was also helped by the ban on drinking alcohol in the United States, which lasted from. 1920 to 1933. These saloons for the illegal sale of alcohol (in English - “speakeasies”) were equipped with huge bars, many mirrors, large rooms filled with tables. The rise in popularity of "speakeasies" was facilitated by: good food, a dance floor and a musical performance. Many of the visitors to these establishments considered jazz to be an excellent addition to such a “relaxation”. After the lifting of the ban, for a decade (from 1933 to 1943) many clubs with jazz music were opened. It was already a new successful type of urban cultural institutions. The popularity of jazz changed in the second half of the forties and jazz clubs (for economic reasons) became a convenient venue for recording concerts, and for combining with other forms of entertainment. And the fact that modern jazz was music for listening and not for dancing also changed the atmosphere of the clubs. Of course, the main American "club" centers of the 1930s and 40s were New Orleans, New York, Chicago, Los Angeles.

Leaving New Orleans in 1917, jazz became the property of all America: North and South, East and West coasts. The world route along which jazz moved, gaining more and more new fans, was approximately as follows: New Orleans and areas near the city (1910s); all cities in the Mississippi

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

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

In the East, in Philadelphia, the local piano style, based on ragtime and gospel shout, was contemporary with the styles of New Orleans pianists (early 20th century). This music also sounds everywhere, giving a fundamentally new flavor to urban culture. In Los Angeles, in 1915, local musicians discover New Orleans jazz, try their hand at collective improvisation, thanks to the tour of the F. Koeppard orchestra. Already in the 1920s, more than 40% of the black population of Los Angeles was concentrated in a few blocks on both sides of Central Avenue from 11th to 42nd streets. Business establishments, restaurants, social clubs, residences and nightclubs were also concentrated here. One of the first and famous clubs was The Cadillac Cafe. In 1917, D. R. Morton was already speaking there. The Club Alabam, later renamed the Apex Club, was founded by drummer and bandleader C. Mosby in the early 1920s.

dov, and in the 30-40s the club still continued active jazz activities. A little further on was the Down Beat Club, where the first West Coast be-bop artists performed: X. McGee's band, C. Mingus and B. Catlett's "Swing Stars" ensemble. Ch. Parker played in the club "The Casa Blanca". While Central Avenue was still the jazz soul of Los Angeles, clubs in other areas also played an important role. The Hollywood Swing Club was one such place. Both swing bands and be-bop style performers played here: L. Young, B. Carter's orchestra, D. Gillespie and C. Parker performed until the mid-40s. The Lighthouse Cafe opened in 1949. This club was subsequently glorified by the stars of the cool movement. Another popular West Coast club was The Halg: R. Norvo, J. Mulligan, L. Almeida, B. Shank played here.

The jazz musical styles that arose in these cities brought a special flavor to the atmosphere of urban culture. By the 1930s, jazz fills the free time of citizens both “from below” (from drinking establishments) and “from above” (from huge dance halls), becomes part of urban culture and merges into mass culture against the backdrop of urbanization. The jazz of this period became that symbolic system that was equally accessible to almost all members of society. In this paragraph, the circle of use of verbal terms and non-verbal symbols and signs is revealed, the concept is given and the criteria and signs of the jazz subculture are defined. The world of jazz "gave birth" to subcultures, each of which forms a special world with its own hierarchy of values, style and way of life, symbols and slang.

This paragraph reveals the typological features of various subcultures: slang, jargon, demeanor, preferences in clothes and shoes, etc.

A subculture that prefers stride-style music uses speech turns “after hours” (after work), “professor”, “tickler”, “star” (star). The demeanor of pianists on stage has changed - from a serious, classical, conservative, sometimes prim manner, performers of dance (ragtime) and New Orleans music have gone into the opposite - the art of entertaining the public (entertaining). Stride performers, who were called "professors" or "ticklers", staged entire performances from their performances, starting with the appearance in front of the public and performing. This was the grotesque, acting, the ability to present yourself to the public. Special appearance details included: a long coat, a hat, a white scarf, a luxurious suit, patent leather shoes, a diamond tie clip and cufflinks. The appearance was complemented by a massive cane with a gold or silver knob (the cane was a “storage” of cognac or whiskey). The stride was a good accompaniment to a solo or pair dance - tap or step. By the mid-30s, more and more performers of this type of jazz dance appeared.

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

"great" (played great), "blues" (blues), "chorus" (square). The orchestra members on the stage demonstrated rehearsed movements, rhythmically swinging the trumpets of trombones, saxophones, raising their trumpets upwards. The performers were dressed in solid, elegant suits or tuxedos, identical ties or bow ties, and shoes of the inspector model. Swing was "accompanied" by the Negro youth subculture "Zooties" ("zooties"), whose name comes from the "Zoot Suit" clothing - a long striped jacket and tight trousers. Negro musicians, as well as "Zutis", artificially straightened their hair, mercilessly pomaded them. Singer and dandy C. Calloway demonstrates this style in Stormy Weather (1943). A significant part of the youth public became fans of swing: white college students created a vogue for swing. The swinging audience was mostly dancing. But it was music and "for the ear." It was during this period that the custom appeared among swing fans to listen around the stage on which jazz orchestras played, which later became an integral part of all jazz events. On the basis of different attitudes to music and dance in the swing era, the following arose: the subculture of "alligators" - that was the name of that part of the public that liked to stand by the stage and listen to the band; subculture "jitterbugs" - part of the public, dancers who have gone on an aggressive, extreme path of self-expression. The era of swing coincides with the Golden Age of tap. The best dancers are filmed.

Musicians and fans of the be-bop style use other words and expressions: "dig" (dig, dig), "ye, man" (yes, guy), "session" (record, session), "cookin" "" (cooking, kitchen ), “jam”, boxing terms, “cats” (cats-appeal to musicians), “cool” (cool). The musicians demonstrate “protest” behavior - no bows, smiles, “cooling” of relations with the “hall”. Denial of uniformity (serialization) has appeared in clothing, reaching to the point of negligence. Black glasses, berets, caps are becoming fashionable, "goat" beards are growing. Drug addiction that destroys health and psyche is becoming fashionable. Jazz musicians are drugs, an unfortunate life chain is being built. The transience of change leads to a feeling of fragility, creates a mood of uncertainty and instability.There is a lack of spiritual comfort, positive emotions from communication, the need for contemplation.Many talented and bright figures are lost or "burn out", prematurely leaving the professional jazz "path".

Modern jazz was able to understand and appreciate trained audiences. Part of this elite public has already been formed. They were "hipsters", a special social stratum. This phenomenon was the focus of attention of researchers and the press in the 1940s and 1950s. The English journalist and writer F. Newton writes: “The hipster is a phenomenon of a new generation of northern blacks. Its development was closely intertwined with the history of modern jazz.

Unfortunately, unified, obscene expressions are becoming fashionable and standard, with which any everyday conversation of musicians, which is scarce in normal words, is often and inappropriately “powdered”. This bad-

the ugly and flawed language contrasts so strikingly with the beautiful music that these people create that the thought involuntarily creeps in that the speech image is an image contrived and “put on” by musicians for the disgusting fashion of being like others, revolving in the world of jazz. The world of jazz has another feature - to give nicknames (or nicknames) to musicians. These nicknames, "getting used" to the performer, become the second, and more often the main name of the artist. New names exist not only in oral appeals, they are assigned to musicians on records, in concert performances, on TV. Speaking about any jazz performer, we habitually pronounce his nickname, which appeared over time in his creative life. Here are a few examples of the names and nicknames of musicians whose work we consider in our work: Edward Kennedy Ellington - "Duke" ("Duke"), Thomas Waller - "Fats" ("Fat Man"), William Basie - "Count" ("Count ”), Willie Smith - “Lion” (“Lion”), Ferdinand Joseph La Ment Morton - “Jelly-Roll” (“Jelly Roller”), Earl Powell - “Bud”, Joe Turner - “Big Joe” (“ Big Joe"), Earl Hines - "Fatha" ("Daddy") - pianists; Roland Bernard Berigen (trumpet) - "Bunny", Charles Bolden (cornet trumpet) - "Buddy", John Burks Gillespie (trumpet) - "Dizzy" ("Dizzy"), Warren Dodds (drums) - "Baby" , Kenny Clark (drums) - "Klook", Joseph Oliver (cornet) - "King" ("King"), Charlie Christoph Parker (alto saxophone) - "Bird" ("Bird"), William Webb (drums) - "Chick", Wilbor Clayton (trumpet) - "Buck", Joe Nanton (trombone) - "Tricky Sam" ("Magician-Sam"), To the pianists listed, we have added some famous musicians from the period of the 20s - 40s . The tradition of "name-nicknames" is closely related to the history of jazz and originates from the first blues performers. The "renaming" of artists continues to live on in the following decades.

The second chapter "Dynamics of development of jazz in the artistic culture of the XX century" consists of three paragraphs.

The first paragraph, "Historical Style Changes (Stride, Swing, Bebop)" discusses the transitional period of the 1930s and 1940s in jazz history. Stride in its development was based on ragtime. This style - energetic, full of pulse was in tune with the emergence of an increasing number of mechanisms and various devices (cars, airplanes, telephones) that change people's lives, and reflected the new rhythm of the city, like other types of contemporary art (painting, sculpture, choreography). The pianistic performance of this period is diverse: playing in Dixieland compositions, in large orchestras, solo playing (stride, blues, boogie-woogie), participation in the first trios (piano, double bass, guitar or drums). New York pianists pioneered the Harlem Stride Piano style back in the 1920s, with the striding left hand coming from ragtime. The best performers saturated their game with the most dazzling effects. Stride can be conditionally divided into "early" and "late". One of the pioneers of early stride-da is New York pianist and composer J.P. Johnson (James Price Johnson)

combined ragtime, blues and all forms of popular music in his performing style, using the “paraphrase” technique in his playing. The "late" stride was dominated by T. F. Waller (Thomas "Fats" Waller) - the successor of Johnson's ideas, but concentrating his game on composition, and not on improvisation. It was the game of T. F. Waller that spurred the development of the swing style. T. F. Waller drew more on popular music than ragtime or early jazz in his compositional work.

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

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

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

The second paragraph "Outstanding jazz musicians of the first half of the 20th century" introduces the portraits of outstanding musicians of the 1930s and 1930s and their contribution to culture. One of the pioneering figures in transforming the sound of a large orchestra is Claude Thomhill. Pianist, arranger and leader of a big band, one of the creators of "cool" jazz. Bud Powell ("Bad" Earl Rudolph Powell) was the most important figure among be-bop pianists. This pianist, under the influence of C. Parker, successfully applied the findings and discoveries of this saxophonist in piano playing. Muses-

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

Summing up the work of the most significant pianists of the three styles (stride, swing and be-bop), it is necessary to separately note the creative finds and contribution to the musical culture of a special number of musicians. One of the first in this series was certainly Artthur Jr. Tatum, the brightest "star" of classical jazz piano. He combined the emerging swing style with the more virtuosic elements of the stride. Pianist Nathan "King" Cole (Nathaniel Adams "King" Cole) recorded some great samples in a trio (piano, guitar, double bass) in the 40s; Negro pianist-virtuoso Oscar Emmanuel Peterson (Oscar Emmanuel Peterson), who grew up on the traditions of the stride, developed this style, complementing it with an elastic, biting phrase; self-taught pianist Erroll Louis Garner appears in New York in 1944 and soon conquers the jazz Olympus, shining with his unique style of playing chords; The white, blind English musician George Albert Shearing, inspired by F. Waller and T. Wilson, rose to prominence in the jazz scene by moving to New York in 1947. The last three, from the above-mentioned performers, brought the viewer an incredible joyful charge of energy coming from familiar songs and melodies.

lodia refracted by these pianists through the prism of the individual manner of each of them. At the end of the 1940s, the bright star of the young Dave Brubek (David Warren Brubeck), who studied composition under the guidance of D. Milhaud and music theory under A. Schoenberg, rises. Pianist D. Brubeck plays in an expressive and "attacking" style, has a powerful touch, experiments with harmony and combination of sizes, an original subtle melodist.

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

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

In their statements about jazz E. Anserme, D. Milhaud demonstrated the breadth of views. The longest list of works of art created under the influence of jazz are the works of academic composers: "Child and Enchantment" and piano concertos by M. Ravel, "The Creation of the World" by D. Milhaud, "The Story of a Soldier", "Ragtime for Eleven Instruments" by I. Stravinsky, “Johnny plays” by E. Krenek, music by C. Weill for productions by B. Brecht. Jazz and hybrid jazz since the beginning of the 30s, performing the applied functions of music (relaxation, accompaniment of meetings, dances), processed all popular melodies and songs from musicals, Broadway productions, shows and even some classical themes.

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

Writer D. Keruok created the novel "On the Road", written in the spirit of "cool jazz". The strongest influence of jazz manifested itself among Negro writers. So, poetic works of JI. Hughes is reminiscent of the lyrics of blues songs.

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

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

Let's name another art that has felt the influence of jazz - this is photography. A huge amount of information about jazz is stored in the world photo archive: portraits, moments of the game, the reaction of the audience, musicians outside the stage. All this conveys to us frozen flashes-sketches of almost all periods of the formation of jazz. The union of jazz with cinema was also successful. It all started on October 6, 1927, with the release of the first musical sound film, The Jazz Singer. And further, in the 30s, films were released with the participation of the blues performer B. Smith, the orchestras of F. Henderson, D. Ellington, B. Goodman, D. Krupa, T. Dorsey, K. Calloway and many others. These are plot films, concert films, and cartoons with a jazz "sound track" (soundtrack). In the 1940s, pianists A. Ammons and O. Peterson voiced animated films with their solo playing. During the war years (in the 40s), the big bands of G. Miller and D. Dorsey were involved in filming to raise the morale of servicemen who were fulfilling their duty to their homeland.

The connection between dance and jazz art deserves special attention. Fast dances, and, consequently, dance halls in the 30s and 40s were very popular among young people. There was a fashion for spending evenings in large ballrooms, where dance marathons were also held. Negro-

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

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

The dynamics of culture received an impetus for the implementation of a pluralistic model of development. The new wave of jazz culture, invading the traditional cultural space, has made significant changes, changing the value system. The influence and penetration of jazz into painting, sculpture, literature, culture has led to a constant expansion of the cultural space, the emergence of a fundamentally new cultural synthesis.

In the "Conclusion" the ways of development of jazz from the phenomenon of mass culture to the elite art are indicated, the work of pianists of the period of the 3040s of the XX century is summarized. The results of the study of the stride, swing and be-bop styles are given, and the subcultures born of these styles are indicated. Attention is paid to the relationship between jazz and other types of art - the process of forming the language of modern culture. Jazz has evolved over the course of the XX

century, leaving an imprint on the entire cultural space. The need to continue a purposeful study of the interaction between jazz music and other art forms is shown.

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

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

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

In other editions:

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

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

6. Stylistic features in the works of outstanding jazz pianists of the 30s-0s: solo improvisation and accompaniment: textbook. allowance. St. Petersburg: SPbGUKI, 2007. - 10 p.

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

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

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

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

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

Signed for publication on April 30, 2009 191186, St. Petersburg, Palace Embankment, St. Petersburg State University of Culture and Arts. 05/04/2009. Tyr. 100. Law.71

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

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

1.2. Features of jazz culture.

1.3. jazz subculture.

Conclusions to the first chapter.

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

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

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

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

Conclusions to the second chapter.

Dissertation Introduction 2009, abstract on cultural studies, Kornev, Petr Kazimirovich

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

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

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

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

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

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

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

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

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

The object of the research is the art of jazz in the culture of the 20th century.

The subject of the research is the specificity and socio-cultural significance of jazz in the 30s and 40s of the XX century.

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

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

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

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

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

To identify the origins of new styles and trends: stride, swing, be-bop in the 30-40s of the XX century;

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

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

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

Scientific novelty of the research

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

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

Jazz of the 1930s and 1940s is characterized as a musical phenomenon that largely determined the features of modern elite and mass culture, the entertainment industry, cinema and photography, dance, fashion, and everyday culture;

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

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

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

Basic provisions for defense

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

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

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

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

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

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

Theoretical and practical significance of the research

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

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

Approbation of the work took place in the reports at the interuniversity and international scientific conferences "Modern problems of the study of culture" (St. Petersburg, April 2007), at the Bavarian Academy of Music (Marktoberdorf, October 2007), "Paradigms of culture of the XXI century in the studies of young scientists" ( St. Petersburg, April 2008), at the Bavarian Academy of Music (Marktoberdorf, October 2008). The materials of the dissertation were used by the author when reading the course "Outstanding Jazz Performers" at the Department of Variety Musical Art of St. Petersburg State University of Culture and Arts. The text of the dissertation was discussed at meetings of the Department of Musical Variety Art and the Department of Theory and History of Culture of St. Petersburg State University of Culture and Arts.

Conclusion of scientific work thesis on "Jazz in the cultural space of the XX century"

Conclusion

The beginning of the 20th century was marked by the emergence of a new artistic reality in culture. Jazz, one of the most significant and striking phenomena of the entire 20th century, influenced not only the development of artistic culture, various types of arts, but also the daily life of society. As a result of the study, we come to the conclusion that jazz in the cultural space of the 20th century developed in two directions. The first developed in line with the commercial entertainment industry, within which jazz exists today; the second direction - as an independent art, independent of commercial popular music. These two directions made it possible to determine the path of development of jazz from a phenomenon of mass culture to an elite art.

Jazz music, having overcome all racial and social barriers, by the end of the 1920s was gaining a mass character, becoming an integral part of urban culture. In the period of the 1930s and 1940s, due to the development of new styles and trends, jazz evolved and acquired the features of an elite art, which practically continued throughout the 20th century.

Today, all jazz currents and styles are alive: traditional jazz, large orchestras, boogie-woogie, stride, swing, be-bop (neo-bop), fantasy, latin, jazz-rock. However, the foundations of these currents were laid at the beginning of the 20th century.

As a result of the study, we came to the conclusion that jazz is not only a certain style in the art of music, the world of jazz has given rise to social phenomena - subcultures in which a special world is formed with its own values, style and lifestyle, demeanor, preferences in clothes and shoes . The world of jazz lives according to its own laws, where certain speech turns are accepted, specific slang is used, where original nicknames are given to musicians, which later receive the status of a name that is published on posters and records. The very manner of performance and behavior of musicians on stage is changing. The atmosphere in the hall among the listeners also becomes more liberated. Thus, each current of jazz, for example, stride, swing, be-bop, gave birth to its own subculture.

In the study, special attention was paid to the study of the work of jazz musicians who influenced the development of both jazz music itself and other arts. If earlier researchers turned to the work of famous performers and musicians, then in this dissertation research the work of little-known pianists (D. Guarnieri, M. Buckner, D. Stacey, K. Thornhill, JI. Tristano) is specially studied, the significant role of their work in the development of currents and styles of modern jazz.

Particular attention in the study is paid to the interpenetration and mutual influence of jazz and other types of arts, such as academic music, literature, the art of jazz poster and envelope design, photography, and cinema. The symbiosis of dance and jazz led to the emergence of step, jazz dance, and influenced the dance art of the 20th century. Jazz was the basis of new forms in art - a musical, a film musical, a musical film, a revue film, and show programs.

Jazz in the first decades of the 20th century was actively introduced into other types of art (painting, literature, academic music, choreography) and into all spheres of social life. The influence of jazz has not bypassed:

academic music. “Child and Spell” by M. Ravel, his piano concertos, “The Creation of the World” by D. Milhaud, “Story of a Soldier”, “Ragtime for Eleven Instruments” by I. Stravinsky, “Johnny Plays” by E. Krenek, music by C. Weill for productions B. Brecht in all these works shows the influence of jazz.

Literature. So in 1938, Dorothy Baker's jazz novella Young Man With a Horn was published. Active, seething, creative passions were filled with the works of poets and writers of the era of the "Harlem Renaissance", who revealed new authors. One of the more recent works on jazz is On the Road, a novel by Jack Keruoka, written in the spirit of cool jazz. The strongest influence of jazz manifested itself among Negro writers. The poetic works of L. Hughes resemble the lyrics of blues songs. jazz poster art and record sleeve design evolved along with this music. New musical art and new painting were introduced into the culture, because often an abstract-stylized image of the composition of musicians or the work of a contemporary artist was placed on the front of the envelope.

Photography, because a huge amount of information about jazz is stored in the world photo archive: portraits, moments of the game, the reaction of the audience, musicians outside the stage.

The cinema that started it all on October 6, 1927, with the release of the first musical sound film, The Jazz Singer. And further, in the 30s, films were released with the participation of the blues performer B. Smith, the orchestras of F. Henderson, D. Ellington, B. Goodman, D. Krupa, T. Dorsey, K. Calloway and many others. During the war years (in the 40s), the big bands of G. Miller and D. Dorsey were involved in filming films to raise the morale of military personnel. dances that are inseparable in creative co-development with jazz, especially in the period of the 1930s and 1930s. In the mid-30s, the term "jazz dance" referred to various types of dances to swing music. The artists revealed the wide possibilities of stage dance, demonstrating acrobatic figures and "shuffling" with their feet (or tap dancing). The period of 1930-1940s, called the "Golden Age of Tap", presented the audience with a galaxy of talented jazz dancers. The popularity of tap is growing significantly, the dance moves to the movie screens. A new generation of tap dancers grew up on Boper's rhythms. Gradually formed the choreographic image of jazz. Masters of tap dance with refined artistry, brilliant professionalism brought up and instilled taste in the audience. Dance groups with plasticity, acrobatics and innovative finds formed the future choreography, closely related to jazz, which fit perfectly into energetic swing.

Jazz is an integral part of modern culture and can be conventionally represented as consisting of different levels. The topmost is the musical art of true jazz and its creations, hybrid jazz and derivatives of commercial jazz-influenced music. This new musical art organically fit into the mosaic panel of culture, influencing other types of art as well. A separate level is occupied by the "creators of jazz" - composers, instrumentalists, vocalists, arrangers and fans and connoisseurs of this art. There are well-established ties and relationships between them, which are based on musical creativity, searches, achievements. The internal connections of performers playing in ensembles, orchestras, combos are based on subtle mutual understanding, unity of rhythm and feelings. Jazz is a way of life. To the "lower" level of the world of jazz, we refer to its special subculture, hidden in the complex relationships of musicians and the "near-jazz" public. Various forms of the conditional “lower” level of this art either belong entirely to jazz, or are part of fashionable youth subcultures (hipsters, zootis, teddy boys, Caribbean style, etc.) A fairly narrow privileged “estate” of jazz musicians, however, is international brotherhood, a community of people united by a single aesthetics of jazz music and communication.

Concluding the above, we conclude that jazz evolved during the 20th century, leaving an imprint on the entire cultural space.

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CHAPTER FIRST. PHILOSOPHICAL AND ART HISTORICAL

ASPECTS OF JAZZ AESTHETICS.

1.1. Postmodernism and ecumenism: general and special.

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

1.3. The influence of the racial and social component on jazz music.

Conclusions on the first chapter.

CHAPTER TWO. FUNDAMENTAL PROBLEMS OF THE MODERN ART LANDSCAPE

JAZZ MUSIC.

2.1. Transforming Normativity.

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

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

Conclusions on the second chapter.

CHAPTER THREE. FACTOR OF PSYCHOLOGISM AND PERSONAL

REFLECTIONS IN THE DEVELOPMENT OF AFRO-AMERICAN FREE-JAZZ

ON THE EXAMPLE OF THE WORKS OF JOHN COLTRANE).

3.1. Characteristics of the work of John Coltrane.

3.2. Influence on free jazz subcultures of the sixties.

3.3. Psychologization and Altered States of Consciousness as a Starting Point for Spontaneous Improvisation: New Models of Perception in Music of the 20th Century.

Conclusions on the third chapter.

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

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

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

Please note that the scientific texts presented above are posted for review and obtained through original dissertation text recognition (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

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

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

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

Literature

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

Jazz is a musical direction that is very popular. In addition, this original and original genre has a good effect on the psyche. Under its sounds, you can relax, and still get great pleasure from the music. It is not inferior in its popularity to hip-hop and rock, so scientists decided to find out: how does jazz affect the brain?

What are musical sounds?

Sound is actually the oscillatory motion of particles in elastic media that propagate in waves. A person most often perceives sounds in the air.

Rhythm and frequency affect the body in different ways. For example, low-frequency sounds increase aggression and sexuality. That's why women react when they hear a low male voice.

Experiment conducted by scientists

For its implementation, scientists have created a special piano keyboard installed inside a device that reflects magnetic resonance patterns. They connected a brain scanner to it, showing the working areas when they play the keyboard. The musicians in this study wore headphones to listen to the tunes they created.

Scientists were able to find out that the central area of ​​the brain slowed down the processes of activity, as it was responsible for creating a controlled chain of actions and self-censorship. But in the frontal and middle parts of the brain, an increase in activity was revealed. It is these zones that are responsible for self-expression and creativity.

Moreover, not only jazz musicians participated in this experiment. The brain acts in a similar way whenever a person is trying to unleash creativity:

• Solves problems;
• Tells about his life situations;
• Improvises.

How does jazz affect health?

Cheerful melodies of this style help to get rid of depression and defuse the intensity of feelings. Jazz refers to music that improves mood. Familiar dances such as the maranga, rumba and macarena have lively impulsiveness and rhythms, deepening the breath, improving the heartbeat and getting the whole body moving. Fast jazz makes the blood circulate better and increase the heart rate. But slow jazz distracts from many problems, as it lowers blood pressure, thereby relaxing the body.