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.

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

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

Features of the musical direction

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

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

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

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

Directions

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

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

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

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

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

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

style legends

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

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

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

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

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

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

Jazz in the USSR

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

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

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

Robert Pattinson, Boyd Holbrook, Alain Fabien Delon, A$AP Rocky - what do these people have in common? All of them at one time were the faces of Dior Homme advertising campaigns. Surprised to see the last name on the list? And in vain: A$AP Rocky is connected with the fashion world more than it might seem at first glance - he is a regular at the front rows of the most high-profile shows, and recently created a collection for the British brand J.W. Anderson. And Rakim Myers (real name of the rapper) is far from the only hip-hop artist who causes a stir in the fashion environment.

The history of the relationship between fashion and "black" culture began more than a century ago, and its starting point can be designated the moment when a group of African-American musicians began to experiment with sound in New Orleans - this is how a new style was born: jazz. For jazz musicians, creating a certain image with the help of clothes became a kind of act of self-identification: despite the fact that slavery had been abolished by that time more than half a century ago, African Americans still had to defend the right to be considered full members of society. Jazzmen wore dude suits - white, striped, always with a handkerchief in the breast pocket - a bow tie and patent leather shoes. In the 1920s and 30s, jazz musicians in a sense received the status of trendsetters: a cultural revolution was taking place in New York (the so-called “Harlem Renaissance”), and “white” jazz lovers who adopted the tastes of locals not only in music, but also in fashion.

Louis Armstrong in the company of musicians at a performance in New Orleans, 1920s

If you look back at the past, it becomes clear that for African Americans, clothing has always been a vivid cultural marker, which, firstly, served as a visual identification of the whole community, and secondly, helped poor children to express themselves, raise self-esteem and say: “We here, and we have a voice." In this context, the first thing that comes to mind is, of course, the zoosuit, which became for African-American men in the 1930s and 1940s a literal manifesto of cultural stratification. A baggy jacket with a deliberately extended shoulder line, trousers belted at the waist, as if several sizes larger - the very appearance of the zoot suite almost screamed that its owner wants to literally and figuratively exaggerate his figure in space, to become more significant. Zoosuits eventually formed a subculture of their own that had a significant impact on the fashion trends of the white community, from the teddy fights of the 1950s to Giorgio Armani's famous relaxed suits, with which he burst into fashion in the 1980s.

Zootsuiters, 1943

By the mid-1980s, hip-hop artists entered the New York music scene, a new genre that originated a decade ago in the Hispanic neighborhoods of the Bronx. Like the jazzmen and zootsuiters who preceded them, the dark-skinned recitators found in clothing a way of self-affirmation. A guy from an unfavorable neighborhood where daylight shooting is common, dreams of rising from the social bottom, getting rich and no longer feeling like the dregs of society. What is he doing? That's right, he goes to the counterfeit market and buys a Louis Vuitton T-shirt - an attribute, albeit fake, of a luxurious life, and then goes to rap about his difficult fate. "Fake it till you make it" is the motto that initially guided a good half of the hip-hop movement.

Snoop Dogg and Tupac Shakur at the MTV Video Music Awards, 1996

The mantra worked: a few years later, hip-hop artists began to appear on the newfangled music channel MTV and earn good money, and could already afford to buy real branded things of the cherished Tommy Hilfiger, Ralph Lauren (cult-like by the New York group Lo Lifes), Louis Vuitton and Gucci. The more popular the genre itself and its adherents gained, the more tidbit the attributes of hip-hop culture became for the luxury industry. Fashion, which since the late 1950s has steadily moved towards rejuvenation and what today would be called "hype", gradually began to enter the territory of the once marginal subculture. And now, in the collection of the status House of Chanel autumn-winter 1991/1992, there is a place for chains, voluminous bombers and caps worn backwards, and after it comes the legendary advertising campaign, in which Christy Turlington jumps in a tracksuit and Chanel pearl beads. And in 1996, Gianni Versace invited Tupac Shakur, a noble admirer of Versace baroque prints, to walk the runway as a model.

A real boom in this kind of interpenetration happened with the advent of the new millennium: rising oil prices provided the main players in the world political arena with a comfortable existence, people began to earn and, accordingly, spend more, and the luxury lifestyle became a universally recognized bon ton. It was broadcast most convincingly by hip-hop artists, who had already forgotten that, in fact, the original message of their work was to promote the deep ideas of the struggle for the rights of their brothers and sisters. They started shooting multimillion-dollar clips in which they flaunted things from the latest collections kindly provided to them, casually mentioned their favorite brands in their recitatives (the first in this business was Grandmaster Flash back in 1982 with Calvin Klein namedropping) and participated in near-fashionable photo shoots (everyone remembers the iconic photo of Lil "Kim in the lens of David LaChapelle, where her naked body is covered with the LV monogram?). New role models for a whole generation, hip-hop adepts dressed deliberately pretentiously: precious jewelry with obscenely large stones ("bling-bling ”), animal prints next to fur coats and the most sexually charged outfits of girls carried a silent message: “Look how cool I am and what I can afford.” Such declamations attracted the attention of big fashion houses: after all, isn’t the way of life they propagate?Hip-hop has become an effective marketing tool that everyone has tried to involve in one way or another.

Missy Elliott at the premiere of "Shark Tale", 2004

Here are just a few examples. In 2008, Pharrell Williams teamed up with Louis Vuitton to create a limited collection of jewelry, and a year later, Kanye West followed in his footsteps - with his light hand, the luxury brand's assortment was replenished with a line of sneakers. Perhaps it was these two new wave artists who became the most influential hip-hop figures in the context of fashion: Farrell - thanks to his excellent taste and hats in the spirit of Malcolm McLaren's Buffalo Girls, and West - thanks to a genuine interest in fashion, which led him to front rows of Dior and Chloé shows and made Maison Margiela masks and Céline shirts part of his stage costumes. But the matter did not end there.

Kanye West at the concert as part of The Yeezus Tour wearing a Maison Margiela mask

For example, Riccardo Tisci, who came to the post of creative director of Givenchy in 2004, repeatedly turns to street culture, including in his collections things that were traditionally considered the uniform of rappers: basketball shorts, sweatshirts, etc. In 2013, a fashionable New York department store Barney's created a real buzz around its name, for the first time in its history, inviting hip-hop star Jay Z to collaborate with brands such as Balenciaga, Balmain and Proenza Schouler, working on a special Christmas collection for the department store, the proceeds from which went to charity. Hip-hop artists increasingly began to grace the covers of fashion magazines and become ambassadors of venerable brands with the prefix "luxury". So, in 2014, Kanye West, at the invitation of Olivier Rousteing (they are close friends), along with his missus - Kim Kardashian - starred for an advertising campaign for Balmain. In 2015, Rihanna was named the new face of the Dior Secret Garden campaign, becoming the first black woman in history to receive such a role. Recall that today, behind the back of the singer, among other things, is a collection of shoes for Manolo Blahnik and a line of glasses for Dior.

One after another, hip-hop tracks began to appear, singing odes to high luxury brands: Jay Z and his “ Tom Ford", A$AP Rocky and " fashion killa', Migos and ' Versace", Soulja Boy and " Gucci Bandana", Kanye West and " Christian Dior Denim Flow". Not to mention the fact that watching hip-hop clips has become like a game of “guess the tune”: in a dress from which collection of which brand did Nicki Minaj appear in the second minute of “Anaconda”? Other works are completely capable of outdoing brands' video campaigns: for example, Beyonce's sensational album "Lemonade" made the authoritative online publication Business of Fashion include it in the list of the best fashion videos of the season and set it as an example to all other contenders. Indeed, the aesthetic component of each clip in the video almanac "Lemonade" makes us talk about it as a full-fledged fashion phenomenon.

Frame from Beyonce's "Formation" video

So which came first, the chicken or the egg? Or rather, what is of primary importance in the relationship between the fashion industry and African American culture, which today manifests itself mainly through hip-hop? Who benefits more: Beyoncé, who walks in a brand new Gucci outfit in her video and creates the status of a fashion icon for herself? Or Gucci, for whom such a product placement - appearing in the video of one of the main stars of the modern music industry, raising topical issues in their songs - from feminism to racial equality - is an absolute victory in the quest to make literally everyone talk about themselves? Obviously, there is no unequivocal answer to these questions: if the union were not mutually beneficial for both parties, it would hardly have happened at all. Something else is interesting: the two most recent examples - A$AP Rocky in the Dior Homme advertising campaign and Missy Elliott in Marc Jacobs - do not appeal, unlike previous precedents, only to the image, outward side of the characters. What Chris van Asch, creative director of the Dior menswear line, what Marc Jacobs unanimously say: for them, these characters are role models who inspire not only with their style of dressing, but also with the talent that helped them succeed. True or not, this approach is key to the modern fashion industry and marketing in general: something more worthwhile and convincing must be hidden behind a beautiful shell. Fashion conglomerates have begun to see behind the "black" culture not just bling-bling, and this is a big breakthrough.

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

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

Introduction

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

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

1.2. Features of jazz culture 27

1.3. Jazz Subculture 49

Conclusions to the first chapter 67

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

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

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

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

Conclusions to the second chapter 136

Conclusion 138

List of references 142

Applications 156

Introduction to work

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scientific novelty of the research

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

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

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

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

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

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

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

Basic provisions for defense

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

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

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

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

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

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

The role of performing skills, pianists' personalities in the style changes of jazz and the 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 work took place in reports at interuniversity and international scientific conferences "Modern problems of culture research" (St. Petersburg, April 2008), at the Bavarian Academy of Music (Marktoberdorf, October 2008). Dissertation materials

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

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

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

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

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

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

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

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

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

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

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

Features of jazz culture

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

INTRODUCTION

CHAPTER 1. DEVELOPMENT OF MUSICAL TASTE IN MUSIC LESSONS IN A COMPREHENSIVE SCHOOL

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

CHAPTER 2

2.1 Features of organizing a music lesson at school

2.2 Lesson outline

2.3 Lesson analysis

CONCLUSION

LITERATURE

INTRODUCTION

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

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

In the conditions of the modern socio-cultural situation, the characteristic features of which are pragmatism, economic interests that have come to the fore, a crisis of spirituality, the loss of moral guidelines, care for the spiritual development of children and adolescents should become a special priority of the school. However, real school practice testifies to the orientation of modern general education, first of all, to the development of the intellectual abilities of students to the detriment of their spiritual, moral, artistic and aesthetic development.

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

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

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

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

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

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

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

Based on the goal, the following tasks were defined:

Consider the theoretical foundations of teaching music in a general education school;

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

Track how children perceive jazz music in the lesson;

Analyze the effectiveness of such a lesson.

The practical significance of our work lies, in our opinion, in the theoretical and practical substantiation of the use of jazz music in the classroom as one of the means of forming a general artistic culture among adolescents.

CHAPTER 1. DEVELOPMENT OF MUSICAL TASTE IN MUSIC LESSONS IN A COMPREHENSIVE SCHOOL

1.1 Methodological bases for the formation of musical preferences among students

An important role in the development of the personality of adolescents and high school students is played by the relationship of value orientations and musical and aesthetic taste. Probably not one aesthetic category is as “lucky” as “taste”, rarely anyone knows the sayings and sayings associated with it: “They don’t argue about tastes”, “There are no comrades for taste and color”.

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

With all the differences in the views of scientists on the concept of "taste", they have in common that taste is associated with an assessment of the phenomenon. In its meanings, it acts as an evaluation category

The tastes of people are extremely diverse. Usually, speaking of taste, they mean one or another person, but in any individual artistic taste, the general always appears. In turn, the common in tastes is always due to the socio-economic conditions of life of a particular person, group of people. The general and the individual are inseparable in the artistic taste of a person.

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

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

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

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

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

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

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

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

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

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

• the need for music is the starting point for the formation of a child's aesthetic attitude to music; arises early along with the need to communicate with an adult in a musical environment saturated with positive emotions; develops with the acquisition of musical experience and by the age of 6 a steady interest in music can form;
• aesthetic emotions, experiences - the basis of aesthetic perception; unites the emotional and intellectual attitude to music. Developed aesthetic emotions are an indicator of the development of individual musical culture;
• musical taste - the ability to enjoy artistically valuable music; is not inborn, is formed in musical activity;
• evaluation of music - a conscious attitude to their musical needs, experiences, attitudes, taste, reasoning.

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

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

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

I. Graduality, gradualness.

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

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

2) educational (informative and cognitive), which involves the use of music lessons, extracurricular activities and school discos and theme parties, along with attractive samples of more complex works that require a higher musical preparedness from the listener. At this stage, it is considered appropriate to conduct thematic conversations about jazz music with the inclusion of complex musical examples in the jazz genre.

3) developing (active-creative), involving the stimulation of students' interest in traditional and modern jazz, the formation of teenagers' skills to independently determine the genres, styles and directions of the listened works. At the same time, it is extremely important to reveal the historical, aesthetic and social roots of jazz music (as a sociocultural phenomenon), its relationship with social phenomena experienced by society.

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

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

Thus, the listening culture of adolescents is formed. Its content consists of several components:

Teachers-musicians have repeatedly raised the issue of the importance of every schoolchild being able to feel confident in the ability to comprehend the meaning of music, to enter into a spiritual dialogue with it. From our point of view, it is possible to bring students closer to understanding complex musical compositions through the formation of their experience in ways of comprehending music, identifying the meanings contained in it. Taking into account the uniqueness of each jazz work and each of its perceptions, in the most general terms, the ways of the listener's comprehension of a musical work, in our opinion, are: the listener's awareness of the sensation of the surrounding world, which the author shares, the disclosure of the value position conveyed in music, the awareness of the generalized thought of the work.

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

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

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

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

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

And what is the role of European musical culture in the formation of jazz? Europe brought melody and harmony, minor and major standards, and a solo melodic beginning to jazz.

So, the United States of America became the birthplace of jazz. Jazz historians are still arguing about exactly where jazz music was first played. There are two opposing views on this. Some believe that jazz appeared in the north of the United States, where already in the 18th century English and French Protestant missionaries began to convert blacks to the Christian faith. It was here that a very special musical genre "spirituals" arose - these are spiritual chants that North American blacks began to perform. The chants were distinguished by extreme emotionality and largely improvisational character. From these chants, jazz subsequently arose.

Others argue that jazz originated in the southern United States, where the vast majority of Europeans were Catholic. They treated Africans and their culture with special contempt and disdain, which played a positive role in preserving the identity of African musical folklore. African-American musical culture of black slaves was rejected by Europeans, which preserved its authenticity. Jazz was formed on the basis of authentic African rhythms.

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

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

In subsequent years, jazz has evolved from a marginal musical direction into a rather serious musical movement that has captured the minds and hearts of the general public on the American continent. The spread of jazz began after the closure of the Storyville entertainment district in New Orleans. But that doesn't mean jazz was just a New Orleans phenomenon. Islands of jazz music were St. Louis, Kansas City, Memphis - the birthplace of ragtime, which had a significant impact on the formation of jazz. It is interesting that many subsequently outstanding jazz musicians and orchestras were ordinary minstrels who participated in special traveling concerts: for example, the famous musician Jelly Roll Morton, Tom Brown's orchestra, Freddie Keppard's Creole Band. Orchestras gave concerts on steamboats that made voyages along the Mississippi. This, of course, contributed to the popularization of jazz music. Brilliant jazzmen Bix Beiderbeik and Jess Stacey emerged from such orchestras. The future wife of Louis Armstrong, Lil Hardin, played the piano in the jazz orchestra.

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

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

Jazz is a great culture. It has nothing to do with Africa or America, because jazz is a worldwide culture. The phenomenon of "jazz" includes much more than we used to think. You can call jazz the art of style, but it will not be quite true. Rather, jazz is the art of maintaining a given style flawlessly from beginning to end, and without going beyond. The boundaries of style are moving apart before the vigorous onslaught of jazz, the style itself in jazz becomes individual, creating the appearance of content. Jazz is the individuality of the external and the impersonality of the internal. Therefore, "jazz" is not only music; Jazz is a style of dance, a style of communication, a style of literature, and even a lifestyle.

In Russia, jazz has always been in a “special position”: at first it was considered marginal, underground music, and now it has become the music of a lot of connoisseurs of this music, but it has not become a mass trend. In this regard, jazz has acquired the features of "elitism", music is not for everyone. Therefore, he is not popular among teenagers, little is known about him at all. But this is a whole era not only in music, but also in public life - the “jazz era”. And this also needs to be taken into account when using this direction in the classroom. Because the very “spirit” of jazz, the spirit of the era when this music was born and popularized, can have a certain emotional impact on teenagers, introduce them to something more that is not in their everyday life. And it will also have a positive educational effect, stimulate the cognitive activity of children, because they will want to learn more about this musical direction, to understand what is hidden behind the melodies of jazz, to understand what is expressed in this music. Music lessons on this topic are designed to help in this.

CHAPTER 2

2.1 Features of organizing a music lesson at school

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

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

At present, it is impossible to determine any dominant genre of music - it is the development of the industry and the commercialization of music that have erased the boundaries of the musical directions themselves, and, accordingly, the differences in their popularity. Consequently, the differences are not in the music itself, but in its listener, or, to be more precise, rather in his listening to this very music.

In the life of a modern person, music plays not just an entertaining role - it is a means for self-expression, serves as a barrier to separate one's own lifestyle from the universally recognized one, helps to identify and find one's own kind in the general mass of people. This should be the direction and the music lesson at school.

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

The practical significance of the modern lesson lies in:

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

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

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

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

In particular, music pedagogy does not adequately reflect the problem of the formation of musical culture among adolescents by means of music of mass genres, which is widely popular among adolescents and performs the following functions:

1) communicative, associated with communication about music;

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

3) suggestive, associated with suggestion;

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

5) physiological and psychological relaxation (shouting, stomping, etc.);

6) identification with their own kind, which leads to the loss of individual-personal certainty;

7) recreational-hedonistic, associated with getting pleasure from listening to music;

8) aesthetic, involving the receipt of aesthetic pleasure.

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

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

jazz lesson musical education

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

1) preparatory - involves the creation of a mindset for students to perceive music, using familiar musical material;

2) teaching (informative and cognitive) - involves familiarizing students with the main musical genres, styles and trends within the framework of a music lesson; the formation of students' attitude to the perception of the content of works of academic, folk mass music; the formation of students' emotional and evaluative attitude to musical values ​​and the organization of musical and educational activities in music lessons and after school hours;

3) developing (active-creative) - aimed at introducing students to active musical activity in the classroom and outside the classroom.

The complex of components of the musical educational process, aimed at the formation of the listener's musical culture of adolescent schoolchildren, can be described as follows:

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

Based on this complex and taking into account all of the above, we have developed a summary of a music lesson on jazz topics. We have chosen the first of a series of lessons on acquaintance with jazz music, since here you can fully show the use of various techniques and forms of work in the lesson. And also, it allows in the analysis of the lesson to note the initial perception by teenagers of this musical direction, their interest in this topic.

2.2 Lesson outline

TOPIC: "The Origins of Jazz"

Goals :

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

2) to develop vocal and choral skills: diction, articulation, intonation hearing on the material of G. Gladkov's song "Mr. Beetle";

3) to educate a thoughtful listener, instill interest in the art of music, aesthetic taste.

Lesson type: the formation of new knowledge

Lesson form: combined lesson

Visibility:

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

• music center,
• phonogram records,
• video karaoke.

• maracas,
• dishes,
• triangles.

1. ORGMOMENT

Musical greeting of the teacher.

I didn't come to class alone today. With me is a mysterious gentleman whose name we do not know. Who is he? Where did he come to us from? What is his character? For us, this is still a mystery. But I propose to determine his name from the musical letter he addressed to you. (Sounds like a pronounced jazzy piece of music)

Help guess the name of a mysterious stranger.

Children: Jazz.

Teacher: What prompted you to think about this? With the help of what means of musical expression did you determine that this Mr. Jazz?

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

2. FORMATION OF NEW KNOWLEDGE

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

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

What a strange name?

Some nickname?

Who is he? - some were outraged.

Who is he!!! others admired.

This savage with a bandit name does not know the rules of decency! - boiled the first.

Did you hear the noise he makes?

Have you seen how swagger he is in his movements?

He's the right guy! - others got excited more than the first. - And he behaves like that because he does not know how to pretend! But he says what he feels. And more interesting than other literate people!

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

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

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

Question: Do you think it was difficult for Negroes to live at that time?

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

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

With noisy fun, the crowd tied one truck to another - the losers dragged the winners. This is the kind of street education our Jazz received in childhood.

The tomboy from the street grew up, and at about 15 years old he went from his native city to see people and show himself. And besides, it's time to think about making money. Most of the work was in two American cities - Chicago and New York. The work came to his liking - to entertain the public with music and dance in clubs and places of entertainment.

Thus passed the early youth of our Jazz...

A few years later, Jazz already had worldwide fame. Jazz toured America and Europe. I also visited our country. And everywhere he managed to make true friends. Talented people in different countries did not just imitate Jazz, but did it in their own way.

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

3. HEARING

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

WORK IN TERMINOLOGICAL DICTIONARIES

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

Blues is a folk song of American blacks with a sad, melancholy undertone.

Ragtime - dance music of a special rhythmic warehouse. Originally created as a piano piece.

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

Jazz has grown up. He was tired of the fame of a restless merry fellow and dancer. He wanted to be treated attentively and seriously, to be loved not only in moments of noisy entertainment. His character became changeable. Previously, he was praised for his hot temper, now he was seen too calm, sometimes even cold. And it happened somehow twitchy, nervous. And he stopped shunning the noble society - they began to see him in the Philharmonic and the Opera House.

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

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

4. FIXING

GAME "Choose tools"

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

And now let's try to create an image of Jazz with the help of musical colors. To do this, we need to select tools that are unique to him. (The teacher shows the instruments, the children signal with cards about the presence of an instrument in a jazz band).

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

5. VOCAL-CHORAL WORK

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

Learning the song "Mr. Beetle"

Muses. G.Gladkova, sl. J. Ciardi

1. I once knew a red-haired Mr. Beetle.

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

Directly honestly and openly fell into the trough in the evening.

Mr Beetle is a big weirdo.

1. I asked him: “Where are you? That's some cute fun!

You probably want to become a steamer in a trough?

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

Get off, I'm drowning!"

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

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

I sailed the course of the West-West-North, I love water sports,

I love water sports!

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

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

I'm used to doing everything myself.

To crawl on his own and bite on his own, to sink on his own and save himself.

I'm used to doing everything myself."

1) Performance by the teacher (reincarnation - a hat with a cane - a game with a Beetle)

Teacher: So, what was the style of the song?

Children: Jazz.

Teacher: With the help of what musical means did you quickly determine the musical style?

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

2) The game "Musical echo"

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

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

Phrase learning;

Singing from notes;

First verse with words;

3) singing on video karaoke;

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

After the performance - praise:

Teacher: I saw future jazz performers in you. It's a real jazz band. I hear among your voices the head of jazz stars - Louis Armstrong, Mile Davis, Bessie Smith, Leonid Utyosov - one of the first jazz performers in Russia, Larisa Dolina and Irina Otieva, who started out as jazz singers.

6. HEARING

So, the image of the mysterious gentleman emerges.

At home you will try to paint a portrait of Jazz using paint. I am sure that everyone will get it differently, for someone it is impulsive, for someone it is cold, cheerful, thoughtful, affectionate, pedantic. And to make your portraits more authentic, I will introduce you to the "golden voice" of America. Close your eyes. Fast forward to an old cafe on 5th Avenue in New York. The lights go out, the visitors of the institution stopped the conversation and fixed their eyes on the scene illuminated by neon light. A low, velvety voice spreads through the cafe, enveloping visitors like fog with its intoxicating sounds.

Yes, on stage she is Ella Fitzgerald herself, a heavy black woman, but charming and surrounded by countless admirers. (music plays)

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

2.3 Lesson analysis

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

1. The lesson was a complex lesson using various technical means and visualization. Direction: a lesson in the presentation of new material.
2. Lesson structure: consisted of six stages, each of which included individual, group and joint class work. Repetition and consolidation of the material was carried out in the form of a game.
3. The objectives of the lesson were fully achieved.
4. Evaluation of the content of the lesson in terms of general didactic principles:
   • information content - at the lesson a lot of material and information about jazz music, performers was given, and terminology on this topic was worked out;
   • visibility - the use of various illustrations and portraits;
   • sequence - the logical harmony of the material presented, the absence of gaps in the presentation, the cyclical nature of the study of complex concepts;
   • connection with practice - theoretical information was fixed when listening to music, when learning a song in a jazz style.
5. Student work in the classroom.

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

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

At the stage of homework, the children completed the drawings at the end of the lesson. Here we can note the following: most often, children prefer a substantive depiction of their emotions, that is, in their drawings there is always some separate object associated with jazz themes, around which the entire composition of the drawing is built. For example, a saxophone in the middle of the drawing and around the note, the scale is yellow-green-brown, the boy said about his drawing that these are his impressions of jazz music - a warm range of colors indicates that it causes positive emotions in him, most of all he I like how the saxophone plays, so he is in the middle of the picture. A lot of people depicted portraits of jazz performers or even entire jazz bands in their drawings.

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

CONCLUSION

Summing up our research, we can draw the following conclusions:

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

- to cultivate musical taste, the ability for an aesthetic assessment of musical values;

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

- to form students' skills for active creative activity.

2. The level of musical culture of a student is determined by the level of his general development - his intellectual abilities, interest in fiction and other arts. On the other hand, musical culture has the opposite effect on the overall development of the student.

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

4. The effectiveness of the formation of the listener's musical culture of adolescent schoolchildren is achieved, in our case, under the following conditions:

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

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

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

LITERATURE

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