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

History of the development of jazz

Wilex College Jazz Band, Texas

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

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

new orleans jazz

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

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

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

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

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

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

Big bands

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

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

northeastern jazz

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

Louis Armstrong

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

Kansas City Style

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

West Coast Jazz

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

The Spread of Jazz

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

Dave Brubeck

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

Jazz in the USSR and Russia

The first in the RSFSR jazz band of Valentin Parnakh

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

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

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

Jazz Club "Blue Bird"

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

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

Jazz in the modern world

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

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

To acquaint students with the musical style - "jazz" and the history of the emergence of this musical direction. Expand your understanding of the characteristic features of the style. Listen to famous jazz artists and donate funds musical expressiveness characteristic of jazz: syncopated rhythm, the predominance of wind and percussion musical instruments. Explain the meaning of the concepts of "symphojazz" and consolidate the concepts of "blues", "ragtime", "spiritual".

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Lesson topic: "Jazz as a phenomenon of musical culture of the 20th century."

Goals and objectives:

1) to introduce students to the musical style - “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.

2) to form students' ideas about jazz culture;

3) to teach a culture of listening;

4) learn to express their own thoughts regarding the musical form, sound and figurative content of musical works;

5) explain the meaning of the concepts of "sympho-jazz" and consolidate the concepts of "jazz", "blues", "ragtime", "spirituals";

6) to form vocal and choral skills and be able to highlight the main thing in the content and sound of a musical work;

5) to cultivate the aesthetic taste of students;

Methods and forms of work:

Collectively - group, individual, problem - search + dialogue.

Equipment: tape recorder, piano, jazz discs, computer, multimedia installation, handouts (pictures with musical jazz instruments).

Lesson type: combined, developing (formation of new knowledge).

During the classes:

1.Org. moment

Epigraph:

Jazz is the enjoyment of freedom of expression.

D. Ellington.

Jazz is music. She uses the same notes that Bach used.

J. Gershwin.

If you don't stamp your feet while listening to music, you will never understand what jazz is.

Louis Armstrong.

Motivation

2. Preparing students for work at the main stage (slide No. 1)

Teacher -

Let's guys think about music together now.

Life moves, goes on as usual, and music does not stand still - it develops with time. Undoubtedly, music is an important part of the life of any person. One of the first questions people ask when they meet is: “What kind of music do you listen to?” Indeed, the most typical division for our and your generation is the division according to musical tastes. What role does music play in your life?

(Student answers)

Music accompanies a person throughout his life.

Nowadays, music, even the best, has become more accessible than tap water. But just as you wouldn't drink any water, you shouldn't plunge thoughtlessly into the world of music. I want to help you not to drown in this variety of modern styles and trends, but to understand them better so that everyone can make a choice for themselves.

(Listening and identifying contemporary styles in music)

3. Main stage (slide number 2)

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 from? What is his character? For us, this is still a mystery. But I propose to determine his name.

The first letter is the leader of the orchestra (conductor) D

The second letter is a concept denoting a variety of a musical work according to various criteria (genre) AND

The third letter is the solo number of the opera (aria) A

The fourth letter is a singer - a soloist performing a chorus W

(sang)

I want to conduct our lesson in the form of the program “Musical Kaleidoscope”. To better imagine the image of Jazz, let's try to trace the history of his life.

So we start... slide number 3)

“If you don’t stamp your foot while listening to this music, you will never understand what jazz is,” said Louis Armstrong, one of the most popular musicians of the last century (example of the X-factor show: Yakov Golovko)

Listening to Louis Armstrong's "Go Down Mouses"

Jazz was born in the southern United States at the beginning of the 20th century and spread around the world with amazing speed. The birthplace of jazz is the city of New Orleans, where the great Mississippi River flows into the ocean. slide number 4)

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? (Beecher Stone "Uncle Tom's Cabin")

- (slide number 5)

Jazz arose in the United States among the oppressed, disenfranchised Negro population, among the descendants of black slaves who were once forcibly taken away from their homeland. The slaves found solace in music, the Negroes are surprisingly musical. Their sense of rhythm is especially subtle and sophisticated. In their rare hours of rest, they sang, accompanying themselves with clapping their hands, hitting empty boxes, tins - everything that was at hand. Years passed. Memories of the music of the country of ancestors were erased in memory, what sounded around was perceived by ear - the music of the whites. And they sang, mostly, Christian religious hymns. And the blacks began to sing them too. But to sing in your own way, putting all your pain into them, hope for a better life. This is how Negro spiritual songs originated spirituals.

small orchestras jazz - bands drove around in trucks and carts, 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 or cart to another - the losers dragged the winners. This is the kind of street education our jazz received in childhood.

(slide number 6)

The word "jazz", originally "jazz-band", came into use in the middle of the 1st decade of the 20th century. in the southern states to refer to music produced by small New Orleans ensembles (composed of trumpet, clarinet, trombone, banjo, tuba or double bass, percussion and piano(Pay attention to the tools)

The tomboy from the street grew up, and at the age of 15 he went from his native city (what?) to see people and show himself. And besides, it's time to think about making money.(slide number 7) Most of the work was in two American cities - Chicago and New York. The work came to his taste - to entertain the public with music and dance in clubs and entertainment venues.

Thus passed the early youth of our Jazz...

A few years later, Jazz already had worldwide fame. Jazz toured America and Europe. 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 Spiritual, the sad Blues, the cheerful Ragtime.

Getting from Africa to America as slaves, the Negroes brought their customs there. Music is one of them.

Music for Africans is primarily social in nature, has a ritual meaning, serves as an expression of feelings.

Many elements inherent in Negro musical culture are reflected in the music.

1) Spirituals (finger snaps)

2) Blues

3) Ragtime

Work in terminological dictionaries(slide number 8)

Spiritual - influenced the development of the jazz style, songs of American blacks with religious content. (listening to music spirituals)

Blues - folk song of American blacks with a sad, sad undertone. ( slide number 9 ) (listening to blues music)

Blues entered world culture at the same time as early jazz, and as it seemed in those years, inextricably linked with it. First, what is the blues in general. These are the secular lyric songs of the Negroes who lived along the Mississippi River. These were solo songs accompanied by banjo or guitar. In terms of their vital content, the blues are not at all like the sublime mournful, full of faith, suffering and protest, the choral chants of the spiritual. In the blues, melancholy is combined with cheerful despair, unbelief. The Negro poet Hughes wrote: “The blues always gave me the impression of infinitely sad music. Much sadder than the spiritual. It's because in the blues, sorrow is not softened by tears,on the contrary, it is hardened by laughter, the contradictory laughter of grief, which is born when there is no faith to rely on.».

Behind the wild, desperate joy of the blues lies the tragedy of the whole people.

ragtime - dance music of a special, rhythmic warehouse.(slide number 10)

Ragtime was music entirely for the piano. Why, of all the possible instruments known in America, did the piano become the conductor of ragtime?

What do you guys think?

(Student answers)

The bottom line is that the piano was the most common, most "home", available in the performing sense of America's instrument of that era..(listening to ragtime music)

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. (An example of our Philharmonic)

He visited our country, and even exists in our city (Youth Jazz Band Fusion Band in the program: "Jazz-Rock-Funk-Soul Orchestra of the Conservatory")

Today, jazz is extremely diverse. It includes a huge number of styles and directions. (You will find out on the leaves)

Teacher : To consolidate the material, I offer tests.

Let's try to draw a psychological portrait of Jazz:

1) courtesy, religiosity, importance - from (spirituals);

2) tenderness, romance, daydreaming - from (blues);

3) cheerful disposition, cheerfulness, liveliness of character - from (ragtime).

You met this direction in music in the 6th grade, remember the beautiful lullaby from J. Gershwin's opera Porgy and Bess.

(slide number 11)

George Gershwin is a famous American composer of the first half of the 20th century. In his work, he managed to combine the seemingly incompatible: the music of European late romanticism, jazz and pop music. (Slide No. 6)

The composer was born in a poor neighborhood of New York - Brooklyn, and over time, more than once called himself "a pupil of Brooklyn blacks."

Why is he so famous?

Indeed, at that time (the first half of the 20th century) there were other composers in America.

Gershwin was the first to base his music onNegro folk music of a jazz nature, combining it with the techniques of European symphonic music.It was unexpected, unusual and attracted the attention of the whole world.

This is how a style of music called "symphojazz" arose.

Maybe you yourself will try to decipher this word?

-(This is a fusion of symphonic music and jazz.)

Listening excerpt from Porgy and Imp

What is the basis of jazz music? (slide number 12)

Improvisation. A jazz musician is also the author of what he plays.

A jazz improviser is not a composer and performer in one person, but a special type of artist. He creates a piece of music in cooperation with partners in the ensemble, so improvisation is the art of playing, dialogue, multilateral communication in the language of music.

Rhythm

Characteristic inconsistent (syncoped), the emphasis is not on the strong, but on the weak beat, the predominance of percussion and wind musical instruments.

The role of rhythm Jazz is the main thing. The existence of rhythm. - groups are fundamentally for jazz. In itself, the inspired sense of rhythm, which a jazz artist invariably demonstrates, is capable of delighting the public.

Jazz is the same age as the 20th century and one of its biggest celebrities. He is already 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.

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

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

Analysis of the song of Isidor Beilin (born in 1888), a native of Russia, who at the age of 14 ended up with his parents in the United States and became one of the world's most famous composers of American popular music.

The song "The best jazz in the world" - analysis, performance.

(a song with lyrics is on the desk of each student)

Teacher: Jazz is a unique phenomenon of the 20th century, a musical phenomenon. It presents a wide panorama of sounds and evokes many emotions - you just need to be able to hear them and let them enjoy.

Reflection:

Summing up, we will try to remember everything that was said in this lesson.

1. How did jazz come about? Where do its origins come from?

2. What styles of jazz have you heard today? (ragtime, blues).

3. American composer of the 20th century.

4. Composing music while performing it.

5. The genre of the Negro song that influenced the development of the jazz style. Negro religious song.

Homework

Teacher: Guys, open your diaries and write down your homework. Assignment by groups: the 1st group will prepare information about Louis Armstrong, the 2nd group - about J. Gershwin.

Analysis of the level of activity of students, assessment of knowledge.

Grading for work in the lesson in the journal and diaries of students.

Mister Jazz says goodbye to you. See you soon, young art lovers!

To the music, the children leave the classroom.

As a manuscript

Kornev Petr Kazimirovich

Jazz in the cultural space of the 20th century

24.00.01 - theory and history of culture

Saint Petersburg
2009
The work was performed at the Department of Musical Variety Art of the St. Petersburg state university culture and arts.

Scientific adviser -

Doctor of Cultural Studies,
And. O. professors
E. L. Rybakova

Official opponents:

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

Lead organization -

Saint Petersburg State University

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

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

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

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

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

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

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

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

Scientific novelty of the research

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

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

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

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

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

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

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

3. Consideration of jazz as a specific subculture is based on the presence of special terminology, features stage costumes, clothing styles, shoes, accessories, design of jazz posters, envelopes gramophone records, originality of verbal and non-verbal communication in jazz.

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

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

6. The role of performing skills, 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 twentieth century. The work traces the transition from mass spectacular dance performances in front of a crowd of thousands to elite music that can sound for several dozen people, while remaining successful and complete. The section devoted to the characteristics of the stylistic features of stride, swing and be-bop allows us to consider the whole range of new comparative and analytical works on jazz performers over decades and on a stage-by-stage movement towards music and modern culture.

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

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

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

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

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

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

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

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

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

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

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

Summing up the work of the most significant pianists of the three styles (stride, swing and be-bop), it is necessary to separately note the creative finds and contribution to the musical culture of a special number of musicians. One of the first in this series was certainly Artthur Jr. Tatum, the brightest "star" of classical jazz piano. He combined the emerging swing style with the more virtuosic elements of the stride. Pianist Nathan "King" Cole (Nathaniel Adams "King" Cole) recorded some great samples in a trio (piano, guitar, double bass) in the 40s; Negro virtuoso pianist Oscar Emmanuel Peterson (Oscar Emmanuel Peterson), who grew up on the traditions of the stride, developed this style, complementing it with an elastic, biting phrase; self-taught pianist Erroll Louis Garner appears in New York in 1944 and soon conquers the jazz Olympus, shining with his unique style of playing chords; The white, blind English musician George Albert Shearing, inspired by F. Waller and T. Wilson, rose to prominence in the jazz scene by moving to New York in 1947. The last three of the above-named performers brought the viewer an incredible joyful charge of energy coming from familiar songs and melodies, refracted by these pianists through the prism of the individual style of each of them. At the end of the 1940s, the bright star of the young Dave Brubeck (David Warren Brubeck), who studied composition under the guidance of D. Milhaud and music theory under A. Schoenberg, rises. Pianist D. Brubeck plays in an expressive and "attacking" style, has a powerful touch, experiments with harmony and combination of sizes, an original subtle melodist.

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

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

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

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

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

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

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

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

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

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

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

In other editions:

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

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

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

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

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

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

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

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

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

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

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

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

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, which is by origin folk art, which has risen to the level of professional art, occupies in modern musical culture, as it were, an intermediate position 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 jazz style elements on the formation musical taste students.

The main goal of our work is to develop theoretical foundations and a method of 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 directions, 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 and 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, group or clan) and includes three modes: the culture of mankind, the culture social group, culture of personality . 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;
• 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 age musical subculture can be represented as a peculiar set of musical values ​​followed by representatives of this 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 be divided into many components, parameters of musical development: the level singing development, skills of perception of modern music, the level of creative activity, etc. But development, advancement of children in different sides the comprehension of music still does not add up to musical culture. 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 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. For this, there are two opposing opinions. 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 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, religious chants of American blacks, blues, African folklore of the past, musical compositions traveling 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 jazz masters Louis Armstrong, Eddie Condon, Jimmy Mac Partland, Art Hodes, Barrett Deems and, of course, Benny Goodman, who did a lot to popularize jazz music. Big bands became the basis of jazz in the 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 - 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 whole era not only in music but also in public life- Jazz Age. 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 separation own style life from the universally recognized, helps to identify and find their 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 in order to spiritual development personality, create conditions for self-realization and self-determination of the personality of the student, 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 moral core personality, which is based on the desire for beauty, goodness, 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 of modern lesson music, 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 (culmination, 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 devoted friends they 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 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) widespread involvement as artistic material jazz music as an epochal phenomenon in the world musical culture.

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

1. Abdullin E.B. Theory and practice of musical education in secondary schools. - M., 1983.
2. Bezborodova L.A., Aliev Yu.B. Methods of teaching music in general education institutions: Textbook for students of musical faculties of pedagogical universities. - M.: Academy, 2002.
3. Gorvart I., Wasserberg I. Fundamentals of Jazz Interpretation. - Kyiv: Musical Ukraine i, 1980.
4. Kogan L.N. Artistic taste. - M.: Enlightenment, 1981.
5. Konen V.Ts. Birth of jazz. - M., 1984.
6. Lomakina N.S. Listening culture as a multicomponent quality of a teenager's personality // Culture. Education. Pedagogy of art. Collection of scientific papers. Issue 3 / Rev. ed.: dr. ped. sciences, prof. L.G. Archazhnikova, Dr. ped. Sciences. L.A. Rapatskaya. - M., RIC MGOPU them. M.A. Sholokhova, 2006.
7. Lomakina N.S. Formation of the listener's musical culture of adolescent schoolchildren. Abstract of the dissertation for the degree of candidate of pedagogical sciences. - M., 2006.
8. Markhasev L. In the light genre: Essays and notes. - L., 1986.
9. Mozgot V.G. Formation of the artistic taste of the individual. - Rostov-on-Don: R.G.U., 1992.
10. Shkolyar L.V., Krasilnikova M.S., Kritskaya E.D., Usacheva V.O., Medushevsky V.V. Shkolyar V.A. Theory and methods of musical education for children. - M., FLINTA - SCIENCE, 1998.

11. Shostak G.V. Music of mass genres as a factor in the formation of the musical culture of adolescents. Abstract of the dissertation for the degree of candidate of pedagogical sciences. - Kyiv: National Pedagogical University. M.P. Dragomanova, 1996.

1. Shubinsky V.S. Pedagogy of students' creativity. M., 1988.
2. Encyclopedia for young musicians. - St. Petersburg, 1997.
3. http://nietzsche.ru

Bezborodova L.A., Aliev Yu.B. Methods of teaching music in general education institutions: Textbook for students of musical faculties of pedagogical universities. - M.: Academy, 2002. S. 37.

As a manuscript

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

24.00.01 - theory and history of culture

St. Petersburg 2009

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

Scientific adviser -

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

I. A. Bogdanov, Doctor of Arts, Professor

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

Official opponents:

Lead organization -

Saint Petersburg State University

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

191186, St. Petersburg, Palace Embankment, 2.

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

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

V. D. Leleko

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

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

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

The works of Russian scientists made a significant contribution to the study of jazz: E. S. Barban, A. N. Batashov, G. S. Vasyutochkin, Yu. T. Vermenich, V. D. Ko-nen, V. S. Mysovsky, E. L. Rybakova, V. B. Feyertag. Of the publications of foreign authors, I. Wasserberg, T. Lehmann deserve special attention, in which the history, performers and elements of jazz are considered in detail, as well as books 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); problems of modern jazz dance in the system of choreographic education of actors are considered in the work of V. Yu.

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

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

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

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

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

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

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

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

Scientific novelty of the research

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In other editions:

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

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

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

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

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

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

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

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

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

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

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

1.2. Features of jazz culture.

1.3. jazz subculture.

Conclusions to the first chapter.

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

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

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

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

Conclusions to the second chapter.

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

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

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

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

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

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

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

The works of Russian scientists made a significant contribution to the study of jazz: E. S. Barban, A. N. Batashov, G. S. Vasyutochkin, Yu. T. Vermenich, V. D. Konen, V. S. Mysovsky, E. L. Rybakova, V. B. Feyertag. Of the publications of foreign authors, I. Wasserberg, T. Lehmann deserve special attention, in which the history, performers and elements of jazz are considered in detail, as well as books 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. Fisher "Harmony in African-American jazz of the period of style modulation - from swing to be-bop". A large amount of factual material, corresponding to the time of understanding and the level of development of jazz, is contained in domestic publications of a reference and encyclopedic nature.

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

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

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

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

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

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

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

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

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

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

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

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

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

Scientific novelty of the research

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

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

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

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

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

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

Basic provisions for defense

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

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

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

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

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

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

Theoretical and practical significance of the research

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

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

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

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

Conclusion

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

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

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

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

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

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

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

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

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

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

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

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

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

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