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The birth and formation of Russian jazz culture. Music history: jazz

The birth and formation of Russian jazz culture. Music history: jazz

25.03.2019

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Federal State Educationalbudget institution of highervocational education

FinancialUniversity under the Government of the Russian

Federations

Lipetsk branch

Department of Philosophy, History and Law

Report

Pabout discipline" Russian language and culture of speech"

tema" Features of Russian speech etiquette"

Performed:

1st year student

Gubina E.V.

Checked:

Reshetnikova E.V.

Introduction

1. The concept of speech etiquette

2. Formulas of speech etiquette

3. National speech etiquette

4. Russian speech etiquette

Conclusion

- I'm sorry!

Unfortunately, we often hear this form of address. Speech etiquette and communication culture are not very popular concepts in modern world. One will consider them too decorative or old-fashioned, the other will find it completely difficult to answer the question of what forms of speech etiquette are found in his daily life.

Meanwhile, the etiquette of speech communication plays an important role for the successful activity of a person in society, his personal and professional growth, building strong family and friendships.

speech etiquette communication national

1. The concept of speech etiquette

Speech etiquette is a system of requirements (rules, norms) that explain to us how to establish, maintain and break contact with another person in a certain situation. The norms of speech etiquette are very diverse, each country has its own characteristics of the culture of communication.

It may seem strange why you need to develop special rules of communication, and then stick to them or break them. And yet, speech etiquette is closely related to the practice of communication, its elements are present in every conversation. Compliance with the rules of speech etiquette will help you correctly convey your thoughts to the interlocutor, quickly reach mutual understanding with him.

Mastering the etiquette of speech communication requires gaining knowledge in the field of various humanitarian disciplines: linguistics, psychology, cultural history and many others. For a more successful mastering of the skills of a culture of communication, they use such a concept as the formulas of speech etiquette.

2. Formulas of speech etiquette

The basic formulas of speech etiquette are learned at an early age, when parents teach the child to say hello, say thank you, and ask for forgiveness for tricks. With age, a person learns more and more subtleties in communication, masters various styles of speech and behavior. The ability to correctly assess the situation, start and maintain a conversation with a stranger, correctly express one’s thoughts, distinguishes a person high culture, educated and intelligent.

Speech etiquette formulas are certain words, phrases and set expressions used for the three stages of conversation:

Starting a conversation (greeting/acquaintance)

· main part

final part of the conversation

Starting a conversation and ending it

Any conversation, as a rule, begins with a greeting, it can be verbal and non-verbal. The order of greeting also matters. junior first greets the elder, a man - a woman, a young girl - an adult man, a junior in position - a senior. We list in the table the main forms of greeting the interlocutor:

Forms of greeting in speech etiquette

At the end of the conversation, they use formulas for ending communication, parting. These formulas are expressed in the form of wishes (all the best, all the best, goodbye), hopes for further meetings (see you tomorrow, I hope to see you soon, we'll call you), or doubts about further meetings (goodbye, do not remember dashingly).

The main part of the conversation

After the greeting, the conversation begins. Speech etiquette provides for three main types of situations in which various speech formulas of communication are used: solemn, mournful and work situations. The first phrases uttered after the greeting are called the beginning of the conversation. It is not uncommon for situations where the main part of the conversation consists only of the beginning and the end of the conversation following it.

A solemn atmosphere, the approach of an important event suggest the use of speech turns in the form of an invitation or congratulations. At the same time, the situation can be both official and informal, and it depends on the situation which formulas of speech etiquette will be used in the conversation.

Examples of invitations and congratulations in speech etiquette

The mournful atmosphere in connection with the events that bring grief suggests condolences expressed emotionally, not on duty or dryly. In addition to condolences, the interlocutor often needs consolation or sympathy. Sympathy and consolation can take the form of empathy, confidence in happy outcome accompanied by advice.

Examples of condolences, consolation and sympathy in speech etiquette

In everyday life, the work environment also requires the use of speech etiquette formulas. Brilliant or, conversely, improper performance of assigned tasks can be a reason for issuing gratitude or censure. When following orders, an employee may need advice, for which it will be necessary to ask a colleague. It also becomes necessary to approve someone else's proposal, give permission for execution or a reasoned refusal.

Examples of requests and advice in speech etiquette

The request should be extremely polite in form (but without fawning) and understandable to the addressee, the request should be delicate. When requesting the desirable, avoid the negative form, use the affirmative. Advice should not be given categorically; addressing advice will be an incentive to action if it is given in a neutral, delicate form.

Examples of consent and refusal in speech etiquette

For the fulfillment of a request, the provision of a service, useful advice, it is customary to express gratitude to the interlocutor. Also an important element in speech etiquette is a compliment. It can be used at the beginning, middle and end of a conversation. Tactful and timely said, he lifts the mood of the interlocutor, disposes to more open conversation. A compliment is useful and pleasant, but only if it is a sincere compliment, said with a natural emotional coloring.

Examples of gratitude and compliments in speech etiquette

3. National speech etiquette

Any national speech etiquette imposes certain requirements on the representatives of their culture, and has its own characteristics. The very appearance of the concept of speech etiquette is associated with an ancient period in the history of languages, when each word was given special meaning, and there was a strong belief in the effect of the word on the surrounding reality. And the emergence of certain norms of speech etiquette is due to the desire of people to bring certain events to life.

4. Russian speech etiquette

The main feature of Russian speech etiquette can be called its heterogeneous development throughout the existence of Russian statehood. Serious changes in the norms of Russian language etiquette took place at the turn of the 19th and 20th centuries. The former monarchical system was distinguished by the division of society into estates from nobles to peasants, which determined the specifics of treatment in relation to the privileged estates - master, sir, master. At the same time, there was no single appeal to representatives of the lower classes.

As a result of the revolution, the former estates were abolished. All appeals of the old system were replaced by two - a citizen and a comrade. The appeal of a citizen has acquired a negative connotation, it has become the norm in the use of prisoners, convicted persons, detainees in relation to representatives of law enforcement agencies. The address comrade, on the contrary, was fixed in the meaning of "friend."

In the days of communism, only two types of address (and in fact, only one - comrade), formed a kind of cultural and speech vacuum, which was informally filled with such addresses as man, woman, uncle, aunt, boy, girl, etc. They remained and after the collapse of the USSR, however, in modern society they are perceived as familiarity, and testify to the low level of culture of the one who uses them.

Later, and in post-communist society, the old types of address began to reappear: gentlemen, madam, mister, etc.

Conclusion

In conclusion, I would like to say that speech etiquette is opposed to rudeness. And rudeness and rudeness interfere not only with work, but also with life.

Respect for another person, politeness and goodwill help to verbally express speech etiquette. It, appropriately and moderately used, ultimately forms a culture of behavior.

Bibliography

1.Kazartseva O.M. Culture of speech communication: theory and practice of teaching. Textbook 2001

2. L.A. Vvedenskaya "Russian language and culture of speech", 2002.

3.Online Encyclopedia Around the World

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Introduction

Conclusion

Bibliography

Introduction

Throughout its history, the Russian people have been guided by their own, unwritten, but very strong, stable rules of life behavior, which have evolved in everyday life for centuries and have found expression in fairy tales, songs, proverbs and sayings. The relevance of the presented topic of the essay lies in the fact that manners largely reflect the internal culture of a person, his moral and intellectual qualities. The ability to behave properly in society is very great importance: it facilitates the establishment of contacts, contributes to the achievement of mutual understanding, creates good, stable relationships. The purpose of this essay is to consider such an issue as the emergence of norms and rules of etiquette in Russia.

To achieve this goal, it is necessary to solve a number of tasks:

show the features of the formation of the traditions of Ancient Rus';

consider the stages of the influence of Western culture in the era of Peter I;

to analyze changes in the rules of etiquette in the 19th - early 20th centuries.

etiquette petrovsky culture tradition

Chapter 1. Traditions and norms of Rus' of the pre-Petrine period

The etiquette of the Old Russian, and then the Great Russian people was formed as part of its ethnic traditions, in general, little subject to foreign influences. For quite a long time, Rus' lived in isolation and had practically no contacts with Eastern and European countries. Nevertheless, during the time of Kievan Rus (the first third of the 12th century), Christian norms of life from Byzantium penetrated the cities, displacing pagan and Scandinavian ones. At the time of its state formation, Rus' experienced a strong influence of Byzantium, which for its time was one of the most cultured states in the world. Thus, the culture of Rus' was formed from the very beginning as a synthetic one, that is, under the influence of various cultural trends, styles, and traditions. At the same time, Rus' not only copied these foreign influences and recklessly borrowed them, but also applied them to its cultural traditions, to its folk experience, which came down from the depths of centuries, to its understanding of the world around it, to its idea of beauty. For many years, Russian culture developed under the influence of pagan religion, pagan worldview. Pagan spiritual traditions, folk at their core, had a profound impact on the entire development of Russian culture in the early Middle Ages. With the adoption of Christianity by Russia, the situation changed dramatically. The new religion claimed to change the worldview of people, their perception of all life, and hence their ideas about beauty, artistic creativity, aesthetic influence. For many years, dual faith remained in Rus': the official religion, which prevailed in the cities, and paganism, which went into the shadows, but still existed in remote parts of Rus', especially in the northeast, retained its positions in the countryside. The development of Russian culture reflected this duality in the spiritual life of society, in folk life. During feudal fragmentation(12 - the end of the 15th century), after the Tatar-Mongol invasion of 1237-1241, Eastern norms of behavior penetrate, for example, tougher punishments, husband's despotism in the family, etc. They were preserved during the period of the centralized Muscovite state (16 - - 17th century). The first written rules of conduct were given in Vladimir Monomakh's "Teachings": "... honor the guest, no matter where he comes from - whether a simple person or a noble - treat him with food or drink. Visit the sick, go see the dead. Do not pass by a person without greeting him, but say a kind word to everyone when they meet ... "

Later, in the first half of the 16th century, Sylvester wrote the book Domostroy. The author of "Domostroy" has developed a kind of code of conduct for a city dweller, based on a fair and humane attitude of people towards each other. This book covered all aspects of the life of people of a wealthy class: it taught how to relate to the church, authorities, family members, servants, how to raise children, how to lead household how to greet guests and make return visits. The daily routine of a Russian person was coordinated with church services, it was based on the Byzantine count of hours: 7 "day" and 17 "night" in winter, 17 "day" and 7 "night" in summer, the first "day" and "night" coincided with sunrise and sunset; at the tenth (sixth hour of an ordinary day) mass was served, at twelve there was dinner, then sleep, evening work until six, after six leisure and sleep. For peasants and ordinary urban residents, the whole day depended on the nature and amount of work. The family in the Russian mind was an extremely closed cell, marriage was a church institution. "Domostroy" main virtue women saw in religiosity, complete subordination to her husband, caring for the family and hard work. She had to be able to manage the household, take care of the souls of her wards - teach them prayers, monitor morality. The relative freedom of the Slavic woman in the 10th-13th centuries was gradually replaced by her restriction in all strata of society. Before marriage, the girl was completely subordinate to her father, after the wedding - to her husband. Never and under no circumstances did a decent woman show herself without an escort, she rarely left the house, usually only to church. When talking to strangers, it was considered decent to cover your face with your sleeve. In the home circle, a woman from childhood was surrounded by numerous nurses, “mothers”, nannies, hay girls, often poor relatives and accustomers. Having married and becoming a mistress, a woman had to follow the daily life of all the numerous household members, get up before everyone else, and go to bed later. The woman's social circle was extremely limited. The owner usually kept track of expenses, child care was transferred to trusted servants, and the hostess took care of clothes and utensils. Needlework, which was taught from an early age, was considered a worthy occupation. Literacy was taught to very few. The “large family” that lived in the “courtyard” was stable, consisting of several branches of relatives; only the head of the family had the right to separate some of them. The house was divided into women's and men's parts. The men's room was locked by the head of the family. The women's half consisted of svetlok, towers and a garden for walking. The degree of seniority determined the position of each inhabitant of the house, the same applied to the servants, their number determined the nobility of the householder, who complained and punished at his own discretion. Marriages were made according to the will of the parents. Early marriage or marriage protected from the temptations of single life. Women were given in marriage starting from 11-12 years old, men - from 12-15 years old; in peasant families, where the wife was seen primarily as a worker, the bride could be older than the groom. Divorces were rare, they were made according to divorce letters and sentences of priests. A marriage consecrated by the church could only be entered into three times. From family events christenings were more often on the eighth day after birth; the child was in a hurry to be baptized, so that in case of death, God would “take him to himself.” Birthday was not considered a holiday, only name days were solemnly celebrated; on the “angel's day”, birthday cakes were sent to future guests the more, the higher the rank of the guest was, in the evening the birthday person was presented at the feast. At housewarming, the priest consecrated the house, into which they brought bread and salt (a symbol of well-being and salvation from the "evil eye"), and superstitious people - a black cat or chicken; after there was a feast. The funeral in the popular mind was considered as a marriage with death, and the wedding - as the funeral of a girl's freedom. Therefore, in the songs that accompanied these rituals, there are many similarities. It was believed that a Christian died a worthy death if he was conscious in order to read out his will, bless his relatives with an icon, set serfs free, make “contributions” to churches and monasteries; after death, holy water was placed on the window - “for washing and nourishing the soul”, people with prosperity hired mourners. They tried to bury quickly (in the summer - in a day); having lowered the coffin, they kissed the icon, ate kutya; after the funeral, a commemoration was held, then on the ninth day and on the fortieth; from the funeral to the 40-day commemoration, they read the Psalter, often at the grave, and in the church, and at home. Guest etiquette in Rus' took into account age and origin. To equal guests drove into the yard, and then drove up to the porch; to a higher person walked through the yard on foot; it was not customary for the elders to go to the younger ones. important person invited the owner himself or his relatives, less important - relatives or servants; a noble guest was met at the porch or three meetings were arranged (servants at the gate, relatives in the yard and the owner at the porch), equal - in the hallway, younger - in the room. At the entrance to the house, the guest left the stick (or cane) in the entryway, entered the room without a hat, crossed himself three times on the image, then bowed to the owner, equals stretched out their hands to each other; friends and relatives opened their arms, kissed the guest on the head, pressed him to his chest. On a visit it was impossible to cough and blow your nose; the host had to give special compliments to the guest, calling him the "breadwinner" and "benefactor"; secular people were asked about health, spiritual persons - about salvation. When parting, they were baptized three times on the image, bowed to them, kissed the owner, were baptized once, and the owner escorted the guest to the entrance hall or porch, according to his nobility. The owner was supposed to persistently treat guests who did not have the right to refuse treats. Often food from the feast was sent to those invited who for some reason did not come. Compliance fast days was of great importance. Paintings of dishes were made almost for a year. A good host always had plenty of food. Only the poorest people bought food in the market. Feasts were arranged both by one person and by several hosts at the same time - such feasts were called "brothers". The owner prepared ahead of time, decorated the room with furs, carpets, precious vessels; guests were seated according to the "rank". First, they drank a glass of vodka, eating bread broken by the owner, then there were changes of dishes. When the toast was pronounced, each of the guests went to the middle of the room and drank a cup. Overseas wine and their native “honey” flowed like a river, servants carried huge dishes of meat and game. Women sat at the table on an equal footing with men. The favorite pastimes of rich people were falconry, hawk and dog hunting. Races, tournaments, various games were arranged for the common people. An integral part of ancient Russian life, especially in the North, however, as in later times, was a bathhouse. Church services, which instilled in the people a love for music, were a publicly accessible nationwide spectacle and action; the song accompanied the Russian people always and everywhere. Prior to the reign of Alexei Mikhailovich, there was no theater, the number and nature of entertainment was strictly limited by the church, whose authority was unshakable. Christmas time was merrily celebrated with indispensable mummers; Shrovetide was the time for skating, round dances and festivities. Carnivals, so characteristic of Western Europe, did not take root in Russia because of the cold during Maslenitsa and because of the great strictness of the Orthodox Church towards such amusements. Clothing for men and women had the same lines, never fitted to the figure, consisted of several layers: underwear - home, middle and top. A letnik was put on a shirt for women, then a fur coat (or a sundress, a shower warmer, a body warmer), a mantle or a fur coat, and for men a caftan, a feryaz, a fur coat, a fur coat. Elegant clothes (including expensive ones), stored for many years, were in almost every family, and a headdress indicated differences in social status. Clothing was often sheathed with pearls, semi-precious stones and precious threads (gold and silver).

The girls always showed their hair from under the crowns (or headbands), married women hid it under the hair, on which they put on an ubrus (shawl), kiku or kokoshnik. It was indecent for a woman to go out into the street without rouge, antimony, whitewash. At one time they followed the oriental fashion to blacken their teeth. Earrings, necklaces, rings, at the same time several icons and crosses around the neck were worn by both women and men. By the end of the 17th century, the house-building order began to interfere with the development of culture and society, and with the advent of Peter I, the boundaries of communication between Russia and other states began to expand and European norms of behavior were inculcated.

Chapter 2. Etiquette in the time of Peter the Great (1696-1725)

The way of life in Russia began to change dramatically in the era of Peter I. Having set as his task the Europeanization of the entire way of life in Russia, Peter I began to introduce various innovations on an unprecedented scale into the daily life and life of the Russian nobility. He pursued three goals: accustoming the upper classes of Russian society to forms of treatment, introducing women to public life, merging various classes and mixing them with foreigners. Special manuals and instructions were created, which explained in detail how to behave in society in various situations. For example, “An Honest Mirror of Youth, or Indications for Worldly Behavior,” written in 1717 by order of Peter I, was intended for young nobles and taught them how to behave in a secular society in order to be successful at court. The young nobleman had to be, above all, honest, respect others, honor his parents. A separate chapter was devoted to the behavior of children in society and at home: “No one dares to hang his head and downcast eyes down the street, or look askance at people, but walk straight, and not bent over, and keep his head straight, but it’s fun to look at people and it is pleasant with graceful constancy, so that they do not say: he looks slyly at people. The number of actions taken by Peter I to introduce a new culture in Russia was great. The rules of etiquette were put into practice by appropriate decrees containing threats of punishment for their non-compliance. It should be noted that the changes affected mainly non-family life. Within the family, the same patriarchal relations were preserved with unquestioning obedience to the older man. Court life was strictly regulated and was accompanied by complex ceremonies. Every day, solemn exits of members of the imperial family, receptions of foreign ambassadors, and audiences to private individuals took place in the palace. These were all elaborate rituals, many of which were performed with incredible pomp. The chief master of ceremonies monitored the accuracy of their execution. The emperor demanded the correct and precise execution of court ceremonies. The emperor himself, like his courtiers, had to strictly follow all accepted conventions. Balls occupied a special place in secular life in general and in court life in particular. Balls were introduced in Russia by Peter the Great after his return from abroad in 1717. As a result of this, in 1719, a decree was issued on assemblies. Peter himself drew up the rules for organizing assemblies and the rules for the behavior of guests at them, following the French example. The assemblies began every winter with the sovereign, and ended with the chief of police, and in the summer they were held in summer garden. According to the regulations, the assemblies lasted from 17:00 to 22:00. The sequence of convocation Peter I established himself. At the assemblies, the largest room was assigned to the dance hall. In the adjacent rooms they played checkers and chess. gambling were banned. According to the decree of 1718, the game of cards and dice was forbidden "under fear of the whip." One room was designated for smoking. Peter I himself constantly smoked a pipe and invited everyone to follow his example. Women also had to take part in the assemblies, although the nobility was negative about this. The ladies were treated to tea, coffee, almond milk, honey and jam, while the men were treated to wine, beer and pipes. The music at the assemblies was mostly brass: trumpets, bassoons, oboes and timpani. The dances at the assemblies were divided into ceremonial and English. The Polish dance and the minuet were considered ceremonial, the English - anglaise, country dance and others. The minuet was a chamber dance: the dancers moved in small, measured steps, trying to give their figures graceful poses, and the ladies, gracefully lowering their hands, slightly lifted their dresses. Angles was distinguished, on the contrary, by the liveliness and picturesqueness of his movements. They also danced it in pairs, and the lady, as it were, ran away and evaded the gentleman. And he followed her. The reforms of Peter I also affected the institutions of law. The traditional isolation of boyar, noble and urban (posad) families was violated. Since 1720, marriages with foreigners were allowed (provided that the spouse retains the Orthodox faith). It was allowed to marry divorced and even defrocked monks and priests. The number of unequal marriages with representatives of the lower classes who have achieved "ranks" has sharply increased. Couples could meet, as before, in the church, then at walks that became free for women, receptions, assemblies (even pupils of monasteries were given hours to get acquainted with future suitors). Young people were allowed to see each other before the wedding and get engaged six weeks before it, but the will of the parents in arranging the marriages of their children still remained decisive for a long time. After Peter's decrees, the appearance of different classes began to differ more than before. Russian dress was preserved by merchants and peasants. The upper classes dressed in the European manner - with short caftans for men and complex robes for women. Peter I attached great importance to the shaving of beards, collecting fines, shaving the beards of the boyars with his own hands. The decree on barbering was issued in 1705. But the Old Believers, even under the threat of punishment, did not agree to walk with "barefoot" faces (the beard has long been a symbol of male dignity among the Slavs), short-cropped heads in foreign wigs. Through a change in attitude towards women, Peter I hoped to Europeanize the Russian nobility. Even before the introduction of compulsory assemblies, the “prison” seclusion of boyar and noble wives and daughters was abolished; they were present at various court receptions and holidays. Women who followed the orders of the king, wigs took root better: the sophisticated technology of European hairstyles of that time made combing long and painful, accessible only to a professionally trained hairdresser. Neckline in the Western manner exposed the upper part of the chest, the styles of the then dresses were such that they could only be put on with the help of servants. Women, including mature boyars, showed greater flexibility than their husbands: they learned French "polites" and dances, bows, certain foreign words, mastered the letter, changed outfits three times a day, learned to play the harpsichord. Often the need to follow the royal decrees became a means to influence the husband. Women literally learned to speak again and not blush, covering themselves with their sleeves. From the reign of Peter the Great, a woman was assigned the right to a dowry, she could now make deals herself, and since 1714, wives and daughters had strong hereditary rights in the family. Wives were supposed to travel with their husbands sent abroad on business. The noblewoman had the right to gallant treatment, in the families of the capital, assault on a woman was no longer possible. Noble women began to have a great influence on children, there was an interest in their upbringing. In the provinces, even external Europeanization spread only by the end of the 18th century, and the patriarchal way of life was still preserved in the families of the local nobility. The difference in appearance, the introduction of foreign languages and foreign rules of etiquette into everyday life of the nobility, over time, led to the fact that the peasants began to perceive the nobility as an alien, foreign people. Pomp, luxury, class isolation, the predominance of the formal side of etiquette over its content - all these signs were reflected in the noble etiquette of the second half of the 18th century.

Chapter 3. Rules of etiquette in the XIX - early XX century

After Peter the Great, a return to the former unhurried way of life was no longer possible. Boyar morals were overcome, the leading estate in Russia was the nobility. The rules of etiquette in Russia acquired a national coloring and were then passed down from generation to generation. Society imitated not only external European ideals - the behavior of a secular person had to correspond to the fashion for sentimentalism (later romanticism): “interesting pallor” was desirable, conversations on sensitive topics. Interest in music, literature and painting becomes obligatory. In Russia, there are publications that touch on the topic of good manners. Such, for example, was the magazine "Pleasant with Useful", which was published by employees of the St. Petersburg Cadet Noble Corps. The magazine propagated on its pages decency, moderation and had a clearly educational character. The collection "Moral Encyclopedia" is published, in which explanations of such concepts as kindness, envy, anger, sadness were given. There was a book called "On the treatment of women with men." In Moscow and St. Petersburg, one after another, manuals are published, such as “The Dexterous Cavalier”, “A Decent Man-Gentleman”, etc. The book of L.I. Sokolov was especially popular in Russia in the 19th century. "Secular man, or a guide to the knowledge of secular decorum and the rules of the hostel, adopted good company". All these publications were universal and gave advice for all occasions: how to run a household, what is duty towards close people, how to behave outside the walls of your home, visiting friends or strangers, without disturbing others and without humiliating yourself . Rationality in behavior, reason, deliberation of actions, care and attention to others - this is the leitmotif of these instructions. Much attention in the manuals on etiquette of that time was given to the art of pleasing and winning over people. It assumed mutual helpfulness, attentiveness, readiness to sacrifice some comforts for the sake of others, tact. Tact was one of the most important conditions for being in the light. A tactful person could become loved and respected by everyone, without possessing a great mind, since tact and prudence in many cases were able to replace even education for the world. On the other hand, a person in whom the highest virtues are combined with unpleasant personal traits: knowledge with pride, courage with audacity, morality with excessive severity, was hardly liked in society. Those who did not possess a subtle nature, a sense of tact, common sense and sensitivity were advised to follow the established rules. Secular relations were called acquaintances made in salons with mutual consent, with mutual sympathy and equality of the parties. When they met, they exchanged cards, visits and all sorts of courtesies, following the laws of social decency. At meetings, they shook hands, sat next to each other on the sofa and had a conversation. If, after a mutual introduction, an invitation followed from either side, it was answered with a visit, it was indecent to refuse. If there was no invitation, but they wanted to make an acquaintance, then a day after the acquaintance (representation) they sent a business card and waited for an invitation. If the acquaintance took place between persons occupying an unequal position, or only one party was interested in acquaintance, this was not regarded as secular relations: the highest person invites, but cannot be invited; he is paid a visit, but he is not obliged to return the visit. If the position of the applicant corresponded to the position top person, then a business or casual acquaintance could develop into a secular relationship.

From a secular person it was required:

not to be ashamed to be courteous and attentive towards others, to indulge their inclinations and tastes - this flatters the vanity of each person and guarantees a good attitude towards you, the absence of such qualities always gives rise to vindictiveness and malevolence;

sympathize with others and treat them with kindness be polite and delicate with people of lower social status;

to be respectful and attentive with women, in conversation with them to subtly flatter and not blame their shortcomings;

be able to forgive involuntary sins committed out of ignorance, and not despise a person for not being familiar with all the subtleties of etiquette;

take the tone of the society in which you are, be cheerful or serious, depending on the mood of the environment;

to always pay one's own bill, but to treat everyone - this is one of the few cases when people do not want to be served, everyone wants to show that he is able to pay himself;

don't tell too many stories;

do not flaunt your own successes - true virtues will be noticed even without your indication of them, in addition, silence about yourself is a sure guarantee to avoid ridicule and condemnation;

not to appear in society in a bad mood and not complain about troubles;

be able to say goodbye in time, so as not to seem intrusive.

The business relationship required no courtesies. Outside the office, office or shop, acquaintance ceased, no matter what the position of the parties in society. In the future, at meetings, only bows were exchanged. The most important and titled boss had to be always amiable and polite with his subordinates; the subordinate, in turn, should be respectful, but not obsequious. Subservience and fawning were not encouraged. A subordinate, even if he was higher than his boss in status and origin, did not speak to him first, except about business, and did not try to get close to him, but showed respect under all circumstances. The visits were necessary element secular communication. People visited each other in order to make an acquaintance or to maintain an old one. Special visits were paid to superiors, a doctor or a lawyer. It was customary to pay short visits upon departure. It was contrary to the rules of good manners to leave without paying a visit to acquaintances and not informing them of their departure. Returning after a long absence, it was also necessary to visit friends. Moreover, spouses paid visits to family people together, and bachelors or widowers who did not have adult daughters, the man visited alone. No visits were made on Friday and Saturday during Holy Week. When visiting, always take business cards with you. When they came for a visit, the hostess herself went to meet them, greeted them, and, if someone else was in the living room, introduced the visitor to everyone. The hostess, having met a guest - both a woman and a man - did not sit down until the guest sat down. At that time, there was the concept of the first, or introductory, visit. Such visits were made by newlyweds, employees who arrived in another area, as well as a young man who became independent. The guest had to make sure not to "sit out" for more than 20 minutes. The courtesy invitation of the hosts to stay longer was not taken seriously. No food was served during the first visit. At the beginning of the conversation, the visitor thanked for the honor done to him.

The art of dressing played an important role in life. It was considered good form to stick to fashion. Choosing the color of the dress and suit, hat, gloves, shoes, stockings and jewelry took a lot of time, and this was monitored. Variegation in the color of clothes was considered tasteless. woman in the open evening dress she could appear at parties and balls, as well as at ceremonial performances and concerts. Here the lady could wear diamonds, which were supposed to be worn only in the evening. A diamond necklace could only be worn at a ball, and then with an open neckline of the dress. Young girls were never supposed to wear jewelery befitting a married lady's dress. The girls didn't wear diamonds. A suitable decoration for girls could only be a few strings of pearls, coral, a medallion or cross on black velvet and a gold watch on a thin chain. Older ladies dressed in darker colors. Young girls, women - in lighter ones. Women, according to the fashion of that time, wore long skirts, often with trains, and a hard corset. Gloves were put on before going outside. At the ball, during the visit, in the theater and at concerts, as well as on the street, gloves were not removed. Both the woman and the man had to wear gloves to dance. The man at the ball is in a tailcoat and white kid gloves. If the ball ended with dinner, the gloves were removed only after sitting down at the tables, put either in the pocket or on the knees; getting up from the table, they put them on again. If someone sat down at the piano, then the gloves were removed just before the performance. After the performance, the gloves were put on immediately. If a glove burst at the ball, and there were no spares, one should still wear gloves. At the end of the 19th and beginning of the 20th century, a man took off the glove from his right hand when shaking hands, as well as during a visit. A tailcoat, just like an open dress for women, for men is only an evening dress. During the day, the tailcoat was by no means worn. Little by little, differing from other costumes in the absence of decorations, the tailcoat became generally accepted in society. When inviting a lady to dance, they bow. After dancing, the lady should be taken to her place. If the lady refuses, you still need to bow, and then move away. At dinner parties, the ladies dressed smartly, but the hostess should be dressed less smartly than the guests. When the guests were about to sit down at the table, the hostess, inviting the guests, walked with the most honored guest; behind her was the owner with the most respectable lady. The hosts occupied the center of the table; on the right hand of the owner sat the guest of honor, on the right hand of the hostess - the guest of honor. The rest sat down, as they were previously directed by the hostess. Having sat down, the guests opened the napkin and put it on their knees, but did not put it behind the collar. One hand (hand) was on the table while eating. Elbows were never put on the table. It was also not supposed to keep both hands on your knees, as well as lean on the back of a chair. At the table it was impossible to powder, paint lips. At the end of dinner, the napkin was not folded, but laid open in its place. When they got up from the table, the chair remained at the table. If it was necessary to move a chair, it was taken by the upper edge of the back, and not by the seat. The sign to get up from the table was given by the hostess. Throughout the 19th century, the form of education was improved, it was received by ever wider sections of society. Russia is no longer lagging behind most European countries. By the beginning of the 20th century, many workers and some peasants were able to educate children in gymnasiums and real schools. Both boys and girls received secondary education, but higher female education blazed the road with great difficulty. For girls of the highest noble circle, home education was considered preferable. Particular attention, as before, was paid to manners, various "perfections", as the arts were called, and needlework. In public and private educational institutions, rods were used as a means of education, but in noble families, corporal punishment in the 19th century had already become an exceptional phenomenon. By the end of the 19th century, when the nobility was rapidly losing its position in society, morals became much freer. Many requirements of etiquette, which previously seemed unshakable for the nobles, began to lose their compulsion. Women's organizations appeared, advocating the abolition of all conventions and complete equality with men. The final blow to noble etiquette was dealt in 1917. For some time they tried to adhere to it only in the territories of the White armies, and then in exile. The October Revolution of 1917 dramatically changed the idea of life. With the advent of Soviet power, the situation changed. In the first years after the revolution, the Bolsheviks abolished many things that belonged to the old regime, including etiquette. Any manifestation of it in society was perceived as an anachronism and cruelly ridiculed. For example, the word "master", which does not carry a political connotation, was replaced by a neutral "citizen", and respectful treatment was perceived as subservience. From that moment on, good manners, nobility, courtesy, tact, knowledge of foreign languages began to be considered a sign of bourgeois society. "Proletarian" rules of etiquette in many respects contradicted the pre-existing ones. Men have ceased to be gallant gentlemen, and women - beautiful ladies. Everyone became friends. Most of the intelligentsia was forced to go abroad

Conclusion

The power of traditions in everyday life, the creation of a strict hierarchy of subordination is formulated in a code of rules called "Domostroy". The rules of this allowance were based on the class division of society and the subordination of the lower to the higher, the younger to the older.

Pre-Petrine Russia protected its patriarchal world from the influence of Western civilization. But Peter I realized in time that in order to strengthen the power and authority of the state, Russia must switch to the European way of life, including etiquette. At that time, many books were published, created by different authors, about new norms and rules of behavior copied from the West. They were uniquely combined with Russian national customs and conditions. In manuals on etiquette of the XIX - early XX centuries. great attention was paid to the art of liking and winning over people. It assumed mutual helpfulness, attentiveness, readiness to sacrifice some comforts for the sake of others, tact and prudence.

Bibliography

1. Bokhanov A.N., Gorinov M.M. History of Russia from ancient times to the end of the XX century. M.: AST, 2010.

2. Emysheva E.M., Mosyagina O.V. History of etiquette. Court etiquette in Russia in the 18th century. Secretarial business, 2011.

4. Emysheva E.M., Mosyagina O.V. General civil etiquette in Russia in the 19th century. Secretarial business, 2009.

5. Yuzhin V.I. Encyclopedia of etiquette. - M.: Ripol classic, 2010.

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Module 4

Topic 2. Ethical and speech norms and speech etiquette. Typology of violations of ethical and speech norms

The specifics of Russian speech etiquette

Speech etiquette is a system of rules of speech behavior and stable formulas of polite communication.

Possession of speech etiquette contributes to the acquisition of authority, generates trust and respect. Knowledge of the rules of speech etiquette, their observance allows a person to feel confident and at ease, not to experience awkwardness and difficulties in communication.

Strict observance of speech etiquette in business communication leaves a favorable impression of the organization with customers and partners, maintains its positive reputation.

Speech etiquette has national specifics. Each nation has created its own system of rules of speech behavior. In Russian society special value represent such qualities as tact, courtesy, tolerance, benevolence, restraint.

The importance of these qualities is reflected in numerous Russian proverbs and sayings that characterize the ethical standards of communication. Some proverbs indicate the need to listen carefully to the interlocutor: A wise man does not speak, an ignoramus does not let him speak. Tongue - one, ear - two, say once, listen twice. Other proverbs indicate typical mistakes in building a conversation: Answers when not asked. The grandfather talks about the chicken, and the grandmother talks about the duck. You listen, and we will be silent. A deaf person listens to a dumb person speak. Many proverbs warn of the danger of an empty, idle or offensive word: All the troubles of a man come from his tongue. Cows are caught by the horns, people by the tongue. The word is an arrow, if you shoot it, you won't return it. What has not been said can be said, what has been said cannot be returned. It is better to understate than to retell. Melet from morning to evening, but there is nothing to listen to.

Tact- it ethical standard, requiring the speaker to understand the interlocutor, avoid inappropriate questions, discuss topics that may be unpleasant for him.

courtesy lies in the ability to anticipate possible questions and wishes of the interlocutor, the readiness to inform him in detail on all topics essential for the conversation.

Tolerance is to calmly relate to possible differences of opinion, to avoid sharp criticism of the views of the interlocutor. You should respect the opinions of other people, try to understand why they have this or that point of view. With such a quality of character as tolerance, is closely related consistency- the ability to calmly respond to unexpected or tactless questions and statements of the interlocutor.

benevolence is necessary both in relation to the interlocutor, and in the entire construction of the conversation: in its content and form, in intonation and choice of words.

Technique for the implementation of label forms

Any act of communication has a beginning, main part and final. If the addressee is unfamiliar to the subject of speech, then communication begins with an acquaintance. In this case, it can occur directly and indirectly. Of course, it is desirable that someone introduce you, but there are times when you need to do it yourself. Etiquette suggests several possible formulas:

Allow me to get to know you.

I would like to get to know you.

Let's get acquainted.

When contacting the institution by phone or in person, it becomes necessary to introduce yourself:

Let me introduce myself.

My surname is Sergeev.

My name is Valery Pavlovich.

Formal and informal meetings of acquaintances and strangers begin with a greeting.

Official greeting formulas:

Hello!

Good afternoon!

Informal greeting formulas:

Hello!

The initial formulas of communication are opposed by the formulas used at the end of communication, they express the wish: All the best (good)! or hope for a new meeting: See you tomorrow. Until the evening. Goodbye.

In the course of communication, if there is a reason, people make invitations and express congratulations.

Invitation:

Let me invite you...

Come to the holiday (anniversary, meeting).

We will be glad to see you.

Congratulation:

Allow me to congratulate you on…

Please accept my sincere (cordial, warm) congratulations...

Warm congratulations...

The expression of the request should be polite, delicate, but without excessive fawning:

Do me a favor...

If it doesn't bother you (if it doesn't bother you)...

Be kind…

May I ask you...

I beg you...

Advice and suggestions should not be expressed in a categorical form. It is advisable to formulate advice in the form of a delicate recommendation, a message about some important circumstances for the interlocutor:

Let me draw your attention to…

I would suggest you...

The wording of the refusal to comply with the request may be as follows:

(I) cannot (unable, unable) to help (permit, assist).

At present, this (do) is not possible.

Understand, now is not the time to make such a request.

I'm sorry, but we (I) cannot fulfill your request.

I have to refuse (prohibit, do not allow

Interaction of speech and behavioral etiquette

Etiquette is closely related to ethics. Ethics prescribes rules of moral conduct (including communication), etiquette implies certain behaviors and requires the use of external, expressed in specific speech actions, politeness formulas.

Compliance with the requirements of etiquette in violation of ethical standards is hypocrisy and deception of others. On the other hand, completely ethical behavior, not accompanied by the observance of etiquette, will inevitably make an unpleasant impression and cause people to doubt the moral qualities of the individual.

In oral communication must be respected a number of ethical and etiquette norms closely related to each other.

First, you must be respectful and kind to the interlocutor. It is forbidden to offend, insult, express disdain to the interlocutor with your speech. Direct negative assessments of the personality of the communication partner should be avoided; only specific actions can be evaluated, while observing the necessary tact. Rough words, a cheeky form of speech, an arrogant tone are unacceptable in intelligent communication. And from the practical point of view, such features of speech behavior are inappropriate, since they never contribute to the achievement of desired result in communication.

Politeness in communication involves understanding the situation, taking into account the age, gender, official and social position of the communication partner. These factors determine the degree of formality of communication, the choice of etiquette formulas, and the range of topics suitable for discussion.

Secondly, the speaker is ordered to be modest in self-assessments, not to impose his own opinions, to avoid excessive categoricalness in speech.

Moreover, it is necessary to put the communication partner in the spotlight, show interest in his personality, opinion, take into account his interest in a particular topic.

It is also necessary to take into account the listener's ability to perceive the meaning of your statements, it is advisable to give him time to rest and concentrate. For the sake of this, it is worth avoiding too long sentences, it is useful to make small pauses, use speech formulas to maintain contact: you, of course, know ...; you might be interested to know...; as you can see...; note…; it should be noted ... etc.

Norms of communication determine the behavior of the listener.

First, it is necessary to postpone other matters in order to listen to the person. This rule is especially important for those professionals whose job is to serve customers.

When listening, one must be respectful and patient with the speaker, try to listen to everything carefully and to the end. In case of heavy employment, it is permissible to ask to wait or reschedule the conversation for another time. In official communication, it is completely unacceptable to interrupt the interlocutor, to insert various remarks, especially those that sharply characterize the interlocutor's proposals and requests. Like the speaker, the listener puts his interlocutor in the center of attention, emphasizes his interest in communicating with him. You should also be able to express agreement or disagreement in time, answer a question, ask your own question.

ethics and etiquette concern and writing.

An important issue of business letter etiquette is the choice of address. For standard letters on formal or minor occasions, the appeal is suitable Dear Mr. Petrov! For a letter to a superior, an invitation letter or any other letter on an important issue, it is advisable to use the word dear and call the addressee by name and patronymic.

In business documents, it is necessary to skillfully use the possibilities of the grammatical system of the Russian language. So, for example, the active voice of a verb is used when it is necessary to indicate the character. The passive voice should be used when the fact of an action is more important than the mention of the persons who performed the action.

The perfective form of the verb emphasizes the completeness of the action, and the imperfective indicates that the action is in the process of development. There is a tendency in business correspondence to avoid the pronoun I. The first person is expressed by the end of the verb.

Speech distances and taboos

Distance in speech communication determined by age and social status. It is expressed in speech by using the pronouns you and you. Speech etiquette defines the rules for choosing one of these forms. In general, the choice is dictated by a complex combination of external circumstances of communication and individual reactions of interlocutors: the degree of acquaintance of partners ( you- to a friend You- unfamiliar); formality of the communication environment ( you- informal You- official); the nature of the relationship you- friendly, warm You- emphatically polite or strained, aloof, "cold"); equality or inequality of role relations (by age, position: you- equal and inferior, You equal and superior).

The choice of one of the forms of address depends not only on the formal position and age, but also on the nature of the relationship of the interlocutors, their mood for a certain degree of formality of the conversation, linguistic taste and habits.

Thus, it is revealed you- related, friendly, informal, intimate, trusting, familiar; You- polite, respectful, formal, aloof.

Depending on the form of application for you or You there are grammatical forms of verbs, as well as speech formulas of greeting, farewell, congratulations, expressions of gratitude.

Taboo- this is a ban on the use of certain words, due to historical, cultural, ethical, socio-political or emotional factors.

Socio-political taboos are characteristic of speech practice in societies with an authoritarian regime. They may concern the names of certain organizations, the mention of certain persons objectionable to the ruling regime (for example, opposition politicians, writers, scientists), certain phenomena of public life that are officially recognized as not existing in this society.

Cultural and ethical taboos exist in any society. It is clear that swear words, the mention of certain physiological phenomena and body parts are prohibited.

neglect ethical speech prohibitions is not only a gross violation of etiquette, but also a violation of the law. Insult, i.e. humiliation of the honor and dignity of another person, expressed in an indecent form, is considered by the criminal law as a crime (Article 130 of the Criminal Code of the Russian Federation).

Compliments. The culture of criticism in speech communication

An important advantage of a person in communication is the ability to make beautiful and appropriate compliments. A tactfully and timely compliment lifts the mood of the addressee, sets him up for a positive attitude towards the interlocutor, to his proposals, to the common cause.

Compliment it is said at the beginning of a conversation, at a meeting, acquaintance, parting, or during a conversation. A compliment is always nice. Only an insincere or overly enthusiastic compliment is dangerous. A compliment can refer to appearance, excellent professional abilities, high morality, ability to communicate, contain a general positive assessment:

You look good (excellent, fine, excellent, great) looking.

You are so (very) charming (smart, resourceful, reasonable, practical).

You are a good (excellent, excellent, excellent) specialist (economist, manager, entrepreneur).

You are good (excellent, excellent, excellent) in managing (your) household (business, trade, construction).

You know how to well (perfectly) lead (manage) people, organize them.

It is a pleasure (good, excellent) to do business with you (to work, to cooperate).

Culture of criticism is needed so that critical statements do not spoil relations with the interlocutor and would allow him to explain his mistake to him. To do this, one should criticize not the personality and qualities of the interlocutor, but specific mistakes in his work, the shortcomings of his proposals, the inaccuracy of the conclusions.

In order for criticism not to affect the feelings of the interlocutor, it is desirable to formulate comments in the form of reasoning, drawing attention to the discrepancy between the tasks of the work and the results obtained. It is useful to build a critical discussion of work as a joint search for solutions to complex problems.

Criticism of the arguments of the opponent in the dispute should be a comparison of these arguments with the interlocutor's undoubted general provisions, reliable facts, experimentally verified conclusions, and reliable statistical data.

Criticism of the opponent's statements should not concern his personal qualities, abilities, character.

Criticism of joint work by one of its participants should contain constructive proposals, criticism of the same work by an outsider can be reduced to pointing out shortcomings, since the development of decisions is the business of specialists, and assessing the state of affairs, the effectiveness of the organization's work is the right of any citizen.

Non-verbal means of communication

When talking with each other, people use gestures and facial expressions along with verbal speech to convey their thoughts, moods, desires.

The language of facial expressions and gestures allows the speaker to more fully express his feelings, shows how much the participants in the dialogue control themselves, how they really relate to each other.

The main indicator of the speaker's feelings is the expression of his face, his facial expressions.

In "Private Rhetoric" Prof. N. Koshansky (St. Petersburg, 1840) says: “Nowhere are the feelings of the soul reflected so much as in the features of the face and eyes, the noblest part of our body. No science gives fire to the eyes and a living blush to the cheeks, if the cold soul is dormant in the speaker ... Body movements speakers are always in secret agreement with the feeling of the soul, with the aspiration of the will, with the expression of the voice.

Facial expressions allow us to better understand the interlocutor, to figure out what feelings he is experiencing. So, raised eyebrows, wide-open eyes, lowered lips, slightly open mouth indicate surprise; lowered eyebrows, curved forehead wrinkles, narrowed eyes, closed lips, clenched teeth express anger.

Sadness is reflected by lowered eyebrows, dull eyes, slightly lowered corners of the lips, and happiness is reflected by calm eyes, raised outer corners of the lips.

Gesticulation can also tell a lot. Language is taught from childhood, and gestures are acquired naturally, and although no one explains their meaning beforehand, speakers correctly understand and use them. This is explained by the fact that the gesture is most often used not by itself, but accompanies the word, serves as a kind of help for it, and sometimes clarifies it.

In the Russian language, there are many set expressions that have arisen on the basis of free phrases that name a particular gesture. Having become phraseological units, they express the state of a person, for example, lower your head, turn your head, raise your head, shake your head, do not raise your hand, spread your arms, lower your hands, wave your hand, put your hand, stretch out your hand, put your hand on your heart, wag your finger.

It is no coincidence that in various rhetoric, starting from ancient times, special chapters were devoted to gestures. Oratory theorists in their articles and books on lecturing paid special attention to gestures. So, A.F. Koni writes in "Advice to Lecturers": "Gestures enliven speech, but they should be used carefully. An expressive gesture (raised hand, clenched fist, sharp and quick movement, etc.) should correspond to the meaning and meaning of a given phrase or a single word (here the gesture acts in concert with the tone, doubling the power of speech.) Too frequent, monotonous, fussy, abrupt movements of the hands are unpleasant, boring, annoying and annoying.

Mechanical gestures distract the listener's attention from the content of speech, interfere with its perception. Often they are the result of the speaker's excitement, testify to his self-doubt.

Gestures that have any useful meaning for communication are divided into rhythmic, emotional, pointing, pictorial and symbolic.

Rhythmic gestures associated with the rhythm of speech, they emphasize logical stress, slowing down and speeding up speech, the place of pauses, i.e. what the intonation conveys in the speech itself.

Emotional gestures convey various shades of feelings, for example, excitement, joy, chagrin, annoyance, confusion, confusion.

pointing gestures are required to select one object from a number of homogeneous ones, indicate the place where the object is located, indicate the order of the objects. The pointing gesture is recommended to be used in very rare cases, when there is an urgent need for it.

Pictorial gestures appear in the following cases:

if there are not enough words to fully convey the idea;

if the words themselves are not enough due to the increased emotionality of the speaker, nervousness, lack of concentration, uncertainty;

if it is necessary to enhance the impression and additionally influence the listener.

Figurative gestures are used as a visual means of conveying thoughts; they should not replace verbal speech.

Symbolic gestures conditionally designate some typical situations and accompany the corresponding statements:

gesture of intensity (hand clenched into a fist) at the words: He is very tenacious. How stubborn she is;

gesture of refusal, denial (repulsive movements of the hand or both hands with palms forward) along with statements: No, no, no, please. No no;

a gesture of opposition (the hand performs the movements "there" and "here" in the air), along with the words: There is nothing to go here and there. One window to the north, the other to the south;

gesture of separation, dissimilarity (palms open, move apart in different directions): This must be distinguished. These are completely different things. They went their separate ways;

gesture of unification, addition, sum (fingers are connected into a pinch or the palms of the hands are connected): They worked well. They are very suitable for each other. And if you put it together. Let's join forces.

Ergonomics of the environment component speech etiquette

The first thing people notice when they come to an appointment, an interview, a meeting, a business meeting is the external environment of the room in which any issues are to be resolved. The results of the conversation and negotiations partly depend on how the cabinet or office looks.

Competent construction of space requires compliance with a single style in the design of the room: in the planning solution, in decoration, decor, furniture. A properly and tastefully planned office helps to create a favorable environment for conversation, which contributes to the establishment of fruitful contact.

The above, of course, applies not only to cabinets. Special requirements apply to other rooms. A convenient and aesthetic layout should be in the reception room, in the premises of departments, in classrooms, in rooms for storing documents.

The appearance of any room should correspond to its functional purpose, give the impression of a reasonably organized business environment. Furniture and its location should be convenient for employees and visitors.

Learning tasks

What is speech etiquette?

What moral qualities are based on speech etiquette?

What are the speech formulas for starting communication?

What are the speech formulas for ending communication?

What determines the distance in communication?

What is taboo?

What is the role of compliments in communication?

What norms must be observed when criticizing the ideas of the interlocutor?

What are non-verbal means of communication?

Introduction

What is etiquette? The concept is philosophical. According to the dictionary “Etiquette is a set of rules of conduct relating to external manifestation attitudes towards people (treatment with others, formulas of address and greetings, behavior in public places, manners, clothes).

Etiquette determines the behavior of any person. These are not only the rules that must be followed at the table or at a party, these are generally all the norms of human relationships. With the help of such rules, interactions with others are regulated. Indeed, etiquette is expressed in different aspects of our behavior. For example, a variety of human movements, postures and positions that he takes can have etiquette meaning: a polite position facing the speaker and not at all polite - with his back to him. For etiquette purposes, we often use objects (a raised hat, presented flowers), clothing features (the choice of festive, mourning or everyday clothes shows well how we understand the situation, how we treat participants in communication). Our speech plays the most important role in the etiquette expression of relations with people.

Speech etiquette is a wide area of communication stereotypes.

In the process of upbringing, socialization, a person, becoming a personality and more and more completely mastering the language, learns the ethical norms of relationships with others, including speech relationships, in other words, masters the culture of communication. But for this it is necessary to navigate in the situation of communication, in the role signs of the partner, correspond to one's own social characteristics and satisfy the expectations of other people, strive for the “model” that has developed in the minds of native speakers, act according to the rules of the communicative roles of the speaker or listener, build the text in accordance with stylistic norms, master oral and written forms of communication, be able to communicate in contact and remotely, and also master the whole gamut of non-verbal means of communication.

So let's take a closer look at the features of Russian etiquette and the norms for its implementation.

The specifics of Russian speech etiquette

It is impossible to name a language culture in which etiquette requirements for speech activity would not be presented. The origins of speech etiquette lie in the most ancient period in the history of the language. In archaic society, speech etiquette (like etiquette in general) has a ritual background. The word is given special meaning associated with magical and ritual ideas, the relationship between man and cosmic forces. Therefore, human speech activity, from the point of view of members of the archaic society, can have a direct impact on people, animals and the world; the regulation of this activity is connected, first of all, with the desire to cause certain events (or, on the contrary, to avoid them). Relics of this state are preserved in various units of speech etiquette; for example, many stable formulas are ritual wishes, once perceived as effective: Hello (also Be healthy); Thank you (from God Save). Similarly, many prohibitions on the use of words and constructions that are considered swear words in modern language go back to archaic prohibitions - taboos.

Later layers associated with various stages in the evolution of society and its structure, with religious beliefs, etc. are superimposed on the oldest ideas about the effectiveness of the word. Of particular note is the rather complex system of speech etiquette in hierarchical societies, where the rules of speech communication fit into the semiotics of the social hierarchy. An example is the court of an absolute monarch (the medieval East, Europe at the turn of the New Age). In such societies, etiquette norms became the subject of training and codification and played a dual role: they allowed the speaker to express respect for the interlocutor and at the same time emphasize the sophistication of his own upbringing. The role in the formation of a new, Europeanized elite, which was played in the Petrine era and subsequent decades of etiquette manuals, is well known.

In the speech etiquette of almost all peoples, common features can be distinguished; Thus, almost all peoples have stable formulas of greeting and farewell, forms of respectful address to elders, etc. However, these features are realized in each culture in its own way. As a rule, the most detailed system of requirements exists in traditional cultures. At the same time, with a certain degree of conventionality, we can say that the comprehension of speech etiquette by its carriers goes through several stages, as it were. A closed traditional culture is characterized by the absolutization of etiquette requirements for behavior in general and for speech behavior in particular. The bearer of another speech etiquette is perceived here as a poorly educated or immoral person, or as an insulter. In societies that are more open to external contacts, the idea of the difference in speech etiquette among different peoples is usually more developed, and the skills of imitating someone else's speech behavior can even be a source of pride for a member of society.

In modern, especially urban culture, the culture of industrial and post-industrial society, the place of speech etiquette is being radically rethought. On the one hand, the traditional foundations of this phenomenon are being eroded: mythological and religious beliefs, ideas about an unshakable social hierarchy, etc. Speech etiquette is now considered in a purely pragmatic aspect, as a means of achieving a communicative goal: to attract the attention of the interlocutor, to show him your respect, to arouse sympathy, to create a comfortable climate for communication. Relics of hierarchical representations are also subject to these tasks; compare, for example, the history of addressing Mr. and the corresponding addresses in other languages: an element of speech etiquette, which once arose as a sign of the addressee's social status, subsequently becomes a nationwide form of polite address.

On the other hand, speech etiquette remains an important part of the national language and culture. It is impossible to talk about a high level of foreign language proficiency if this proficiency does not include knowledge of the rules of speech communication and the ability to apply these rules in practice. It is especially important to be aware of the differences in national speech etiquette. For example, each language has its own system of addresses that has been formed over the centuries. With a literal translation, the meaning of these appeals is sometimes distorted; thus, the English Dear is used in formal address, while the corresponding Russian Dear is used, as a rule, in less formal situations. Or another example - in many Western cultures to the question How are you? should answer: Good. The answer Bad or Not very considered indecent: the interlocutor should not impose his problems. In Russia, it is customary to answer the same question in a neutral, rather with a negative connotation: Nothing; Little by little. Differences in speech etiquette and in general in the systems of rules of speech behavior belong to the competence of a special discipline - linguistic and regional studies.

Every language has its own history, its ups and downs. At especially critical moments of state reforms, there is always a danger of losing attention to this national treasure, being distracted by the seemingly more important needs and problems of society. In our time of great social and spiritual changes, this danger has increased many times over.

The Russian language over the past two decades has endured many not the best influences and intrusions. The alarm was sounded by dozens of scientific and cultural figures. Back in the early 90s, realizing that there was an ugly pollution of the Russian language, the writers of the St. Petersburg organization of the Writers' Union of Russia raised the issue of adopting a law on the protection of the Russian language at the state level. And only at the beginning of the 98th year, this Law was adopted, which refers to the mandatory introduction of the Russian language course, the culture of speech in all universities of the country and the adoption of special measures to increase the level of literacy of the population.

Speech etiquette has national specifics. Each nation has created its own system of rules of speech behavior. In Russian society, such qualities as tact, courtesy, tolerance, goodwill, and restraint are of particular value.

Tact is an ethical norm that requires the speaker to understand the interlocutor, avoid inappropriate questions, and discuss topics that may be unpleasant for him.

Courtesy lies in the ability to anticipate possible questions and wishes of the interlocutor, the readiness to inform him in detail on all topics essential for the conversation.

Tolerance consists in being calm about possible differences of opinion, avoiding harsh criticism of the interlocutor's views. You should respect the opinions of other people, try to understand why they have this or that point of view. Consistency is closely related to such a quality of character as tolerance - the ability to calmly respond to unexpected or tactless questions and statements of the interlocutor.

Goodwill is necessary both in relation to the interlocutor, and in the entire construction of the conversation: in its content and form, in intonation and choice of words.

Appeal is the most massive and most striking etiquette sign.

There are few personal pronouns in Russian, but their weight in speech etiquette is quite large. The choice between you and you is especially important. You instead of You in addressing one among Russians appeared relatively recently (in the 18th century). This kind of you was entrenched primarily among the educated nobles. Prior to that, You in itself had no etiquette content. But in comparison with you, it acquired the meaning of closeness, and in the communication of people who are not close, it began to express social inequality, communication from top to bottom. You spoke to the commoners, the servants. Gradually capturing more and more layers of the townspeople, the use of You and You, respectively, received various shades in accordance with the attitude typical of each social group.

As a manuscript

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

24.00.01 - theory and history of culture

St. Petersburg 2009

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

Scientific adviser -

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

I. A. Bogdanov, Doctor of Arts, Professor

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

Official opponents:

Lead organization -

Saint Petersburg State University

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

191186, St. Petersburg, Palace Embankment, 2.

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

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

V. D. Leleko

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

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

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

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

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

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

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

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

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

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

the 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 is determined, the features of piano jazz (stride, swing, be-bop), the innovations of the performers that influenced the formation of the musical language are studied. modern culture;

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

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

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

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

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

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

The following shows the creation of cultural and musical traditions by settlers from the Old World and Africa, which laid the foundation for the history of jazz. The European influence was reflected in the use of the harmonic system, the notation system, the set of instruments used, and the introduction of compositional forms. New Orleans is becoming a city where jazz is born and developed, facilitated by transparent cultural boundaries that provide many opportunities for multicultural exchange. Since the end of the 18th century, there has been a tradition that on weekends and religious holidays, slaves and free people of all colors flocked to Congo Square, where Africans danced and created hitherto unseen music. Jazz was also promoted by: a viable musical culture that unites the city's love 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. Outstanding performers of ragtime and pieces in this style were pianists who received professional education(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 served many social and public 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.

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

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

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

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

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

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

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

The paragraph gives a detailed description of the cities in which the development of jazz took place most intensively. The subsequent development of jazz had a huge impact on the entire festive urban culture. Simultaneously with this broad, all-encompassing, official movement of new music, there was another not entirely legal path that also formed an interest in jazz. Jazz artists worked for the "army" of bootleggers, playing in establishments, sometimes all day long, while honing their skills. Jazz music in these nightclubs and saloons unwittingly served as an attractive force in these establishments, where visitors were secretly introduced to alcohol. Of course, this gave rise to later long years follow the word "jazz" in a trail of ambiguous associations. 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 away was the Down Beat Club, where the first be-bop artists performed. West Coast: band X. McGee, ensemble of Ch. Mingus and B. Catlett "Swing Stars". Ch. Parker played in the club "The Casa Blanca". While Central Avenue was still the jazz soul of Los Angeles, clubs in other areas also played an important role. The Hollywood Swing Club was one such place. Both swing bands and be-bop style performers played here: L. Young, B. Carter's orchestra, D. Gillespie and C. Parker performed until the mid-40s. The Lighthouse Cafe opened in 1949. This club was subsequently glorified by the stars of the cool movement. Another popular West Coast club was The Halg: R. Norvo, J. Mulligan, L. Almeida, B. Shank played here.

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

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

A subculture that prefers stride-style music uses speech turns “after hours” (after work), “professor”, “tickler”, “star” (star). The demeanor of pianists on stage has changed - from a serious, classical, conservative, sometimes prim manner, performers of dance (ragtime) and New Orleans music have gone into the opposite - the art of entertaining the public (entertaining). Stride performers, who were called "professors" or "ticklers", staged entire performances from their performances, starting with the appearance in front of the public and performing. This was the grotesque, acting, the ability to present yourself to the public. Special appearance details included: a long coat, a hat, a white scarf, a luxurious suit, patent leather shoes, a diamond tie clip and cufflinks. The appearance was complemented by a massive cane with a gold or silver knob (the cane was a “storage” of cognac or whiskey). 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 of 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". musical language be-bop is filled with characteristic melodic figures consisting of phrases, movements and embellishments. The fret theory that be-bop players have come to use is something new in jazz. The repertoire of these musicians included blues themes, popular standards and original compositions. The "Standards" serve as key material for be-bop musicians.

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

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

Summing up the work of the most significant pianists of the three styles (stride, swing and be-bop), it is necessary to separately note the creative finds and contribution to the musical culture of a special number of musicians. One of the first in this series was certainly Artthur Jr. Tatum, the brightest "star" of classical jazz piano. He combined the emerging swing style with the more virtuosic elements of the stride. Pianist Nathan "King" Cole (Nathaniel Adams "King" Cole) recorded some great samples in a trio (piano, guitar, double bass) in the 40s; Negro pianist-virtuoso Oscar Emmanuel Peterson (Oscar Emmanuel Peterson), who grew up on the traditions of the stride, developed this style, complementing it with an elastic, biting phrase; self-taught pianist Erroll Louis Garner appears in New York in 1944 and soon conquers the jazz Olympus, shining with his unique style of playing chords; 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 reduced to a few of the most syncopated popular dances, which arose under the influence of African-American traditions that were characteristic of the South of the United States. The great success of the Broadway revue Shuffle Along in 1921, in which only Negro artists participated, showed the wide possibilities of stage dance, presented the audience with a galaxy of talented jazz dancers. The performers demonstrated both careful “shuffling” with their feet (“Tar Dancing” or tap dancing) and acrobatic dances. Tap dancing is becoming more and more popular and dancers incorporate many of its key figures into their performance. The 1930s and 1940s are called the "Golden Age of Tap". The popularity of tap is growing significantly, the dance moves to the movie screens.

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

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

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

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

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

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

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

In other editions:

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

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

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

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

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

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

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

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

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

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

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

1.2. Features of jazz culture.

1.3. jazz subculture.

Conclusions to the first chapter.

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

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

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

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

Conclusions to the second chapter.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scientific novelty of the research

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

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

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

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

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

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

Basic provisions for defense

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

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

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

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

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

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

Theoretical and practical significance of the research

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

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, “Story of a Soldier”, “Ragtime for Eleven Instruments” by I. Stravinsky, “Johnny Plays” by E. Krenek, music by K. Weill for productions B. Brecht in all these works shows the influence of jazz.

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

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

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

Jazz is an integral part of modern culture and can be conventionally represented as consisting of different levels. The topmost is the musical art of true jazz and its creations, hybrid jazz and derivatives of commercial jazz-influenced music. This new musical art organically fit into the mosaic panel of culture, influencing other types of art as well. A separate level is occupied by the "creators of jazz" - composers, instrumentalists, vocalists, arrangers and fans and connoisseurs of this art. There are well-established ties and relationships between them, which are based on musical creativity, searches, achievements. Internal communications performers playing in ensembles, orchestras, combos are based on subtle mutual understanding, the 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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