The birth and formation of Russian jazz culture. Abstract Jazz Phenomenon of Negro Music in the Culture of the USA and Europe in the First Half of the 20th Century

The history of jazz art has confidently crossed the turn of the century. From the standpoint of a global understanding of art problems, it should be noted that the development of jazz has demonstrated the phenomenon of an accelerated transformational process in art. Jazz music throughout its existence, often against the will of composers and performers, was built into fundamentally different sociopolitical and aesthetic fields, which significantly influenced its subsequent theoretical and aesthetic understanding: studies of this trend in music were "overgrown" with many figurative contexts, biased interpretations and stamps.

In America during the First World War, the development of jazz was accompanied by extremely aggressive "white" criticism, which, in fact, was part of a segregation machine that infringed on the rights of the "black" population. The attitude towards jazz in other countries was equally dependent on the political course of the authorities. Thus, Nazi propaganda and researchers working in the German state scientific apparatus used harsh racist metaphors and developed an anti-jazz policy, the goal of which was not to attack jazz itself, but to try to weaken the forces that used music for anti-Nazi protest. Certain strata of the protest-oriented population, who did not accept Nazi ideology, listened to jazz only because this form of cultural practice was condemned by the official regime. The semantic field of attitude towards jazz in Russia was just as multifaceted. It should be noted that Soviet listeners perceived jazz music through the prism of incomplete, mostly reduced and subtle ideas about Western life and capitalism. Listening to jazz on the air of Western radio stations "Freedom" and the Russian service of the BBC was a form of civic behavior in which undifferentiated, sometimes not fully conscious acts of nonconformism received their satisfaction. Exactly the same as in Nazi Germany, in the Soviet Union, the condemnation of jazz was for a long time a vestige of criticism of the foreign “alien world” or domestic political factions hostile to the regime. Published under I.V. Stalin's accusatory works "Music in the Service of Reaction" and "Music of Spiritual Poverty" considered jazz music as a product of the degeneration of the capitalist system. Over time, the situation has changed. According to the philosopher Andrei Solovyov, who comprehended the jazz avant-garde, avant-garde artists all over the world were looking for ways to protest the values ​​​​of the bourgeois world and consumer society, and for our compatriots, on the contrary, this was a way out into the bourgeoisie and Western worldview.

The perception of the jazz substratum by musicians and fans of this genre, who lived in America in the twenties, in Germany during the Nazi period, in the Soviet Union and post-Soviet Russia, was founded by a significant number of social and personal codes. This music was characterized in various, sometimes ambivalent categories ("non-conformism", "musical rubbish", "racial product", "existentialism", "capitalist degeneration", "proletarian primitivism", etc.). With this in mind, it seems relevant and timely to clarify the socio-cultural codes of all schools and traditions of jazz performance without exception. There is an essential need to compare social data with data from the field of personal subjectivity that are important for the modern art history paradigm (musician reflection, latent and manifested moments of self-determination of jazz performers, etc.).

The object of the research is jazz as a sociocultural phenomenon, the subject is the status character of jazz music.

The main goal of the dissertation work is to establish how the direction of the development vector of modern jazz music depends on social, racial and socio-cultural processes. To achieve this goal, it is necessary to solve a number of tasks: to form a panoramic overview of the racial component in jazz music, maintaining the attitude that the African-American (as well as the "white") point of view opposing it does not suppress each other; to demonstrate the paramount importance of the African American substratum for the localization of the space of jazz music as such; establish and characterize the nature of conservatism in jazz; to reveal the specifics of the synthesis in the music of the world fusion (world fusion) and jazz-rock styles, as well as the New Age style, which has a close, albeit indirect, connection with jazz; to show the influence of socio-cultural processes on the existential and subjective perception of a musician, on his self-determination in creativity and in the surrounding reality (on the example of D. Coltrane's music).

The material studied was American music of the second half of the 20th century. Among the performers and composers, John Coltrane, Miles Davis, Wynton Marsalis, Don Byron are at the forefront of musicological and art criticism analysis. Jazz artists Nils Wogram, Terence Blanchard, Nicolas Payton, Dave Douglas, Wallace Roney, Uri Caine, John Zorn, Anthony Davis, Micha Mengelberg.

The development of the theme. Currently, Western researchers are actively working to eliminate gaps and semantic gaps in the history of jazz musical culture. Over the past twenty years, American jazz studies have been enriched by a series of meaningful works, including studies by Kreen Gabbard (jazz poetics), Robert C. G. Mealy (Robert CT Mealy), Erik Porter (genre history, jazz and society), Howard Mandel (problems of jazz criticism), Samuel Floyd (analysis of African American origins in harmony and modal aspects of black music). Racial issues of jazz music are considered in the works of ethnomusicologist and psychoanalyst Gerhard Cubic. Authors such as Paul Chvi-gny and Charlie Gerard raised the legal aspects of jazz performances and club life, the problem of assimilation into the format of jazz subculture of performers with non-traditional sexual orientation. British researcher Geofrey Wills specialized in the psychiatric analysis of jazz individuals.

Of course, in a number of methodologically important aspects, foreign - primarily American - jazz studies have made great progress. However, due to the specialization of the problematic approach to the above issues, numerous panoramic episodes remain still unexplored, not caught in the field of view of Western studies. For example, when modern American scholars view jazz in terms of racial centrism, the inevitable processes of "whitening" jazz are perceived by many African American figures as the loss of another position in the struggle for racial freedom. This is evidenced by the work of such African-American publicists as Stanley Crouch (Stanley Crouche), Amiri Baraka (Amiri Baraka), Kalamu Salaam (Kalamu Salaam).

A less radical researcher, Geofrey Ramsey, speaks of the need to apply only ethnomusicological directives to black music, pedaling the ethnic and racial denominator in the question of the method. Rumsey rightly believes that the reconstruction of the history of African American music, carried out with the help of traditional Western musicological methodologies, will be flawed. According to this scholar, musicology pays too little attention to social and ethnic aspects. He sees the expansion of the ethnomusicological perspective as a means of overcoming the problem posed.

The idea that jazz integrates a significant number of elements borrowed from the “white” Western culture is defended by our compatriot V.N. Syrov. In antithesis of Syrov's position, we can mention what is postulated in the works of interdisciplinary American researchers Geoffrey Cubic and Samuel Floyd. From their point of view, the authentic line in "black" music is very strong, which in turn allows us to speak of it in terms of original racial art, completely independent of the dictates of the ideas of "white" Western culture.

Of course, one cannot but take into account the fact that individual constituent elements in jazz are borrowed by African-American culture from the music of Europe (V.N. Syrov). However, we adhere to the thesis that jazz at the level of the basal substratum is a product of a "black" culture, which only later falls into a wider socio-cultural field, undergoing revolutionary changes.

In the area of ​​interest to which the attention of representatives of the Russian scientific school was directed, we single out the following areas: typological and contextual relations of jazz with the phenomenon of mass art (A.M. Zucker, E.V. Strokova); highly specialized consideration of the improvisational substratum in jazz (D.R. Lifshitz); the formation of an improvisational and compositional base (Yu.G. Kinus); the interaction of jazz with the composing tradition of the 20th century (M.V. Matyukhina, A.S. Chernyshov); evolution of jazz harmony (A.N. Fisher). The works of O.A. are devoted to historical and biographical reconstructions. Korzhova.

The problems articulated in our work are quite far from the scientific studies, the results of which are presented in the works of the above-mentioned domestic researchers. The systematic approach to jazz music implemented in the dissertation research is characterized by the consideration and evaluation of jazz in the context of musicological and art criticism categories formed within its sociocultural formation.

Methodological base. The theoretical and methodological basis of the dissertation research was an interdisciplinary corpus of works covering such branches of humanitarian knowledge as philosophy, musicology, philology, psychology, cultural studies and aesthetics. The philosophical aspect of the work is consistent with the positions of Jean Baudrillard (simulacrum phenomenon), Gilles Deleuze (reflections on style). The musicological part gravitates towards the positions generalized by E.S. Barban, as well as certain provisions of the scientific research of Derek Scot and Theodor W. Adorno, Karlheinz Stockhausen and John Cage. IN psychological issues we follow the works created by representatives of transpersonal psychology (K. Wilber, S. Grof), psychopharmacology and psychiatry (Ronald Laing, Albert Hofmann, I.Ya. Lagun). The philological segment of the dissertation is correlated with texts by Douglas Malcolm and Charles Péguy.

In the dissertation, methods of generalization and systematization were used, which are updated in the process of understanding jazz as a sociocultural phenomenon. When studying the problem of transforming normativity, we used descriptive and analytical approaches. Consideration of the works of jazz composers and performers required a musicological analysis, as well as an appeal to system-structural and comparative-typological methods.

The scientific novelty of the dissertation research is:

In the interdisciplinary consideration of jazz as a sociocultural phenomenon; in the significant development and specification of the category of jazz normativity (the term of E.S. Barban), through which the criterion of genre boundaries is determined; in building a system of relationships that have developed between jazz music and postmodernism.

This dissertation research is the first Russian project, within the framework of which the understanding of the problem of synthesis of jazz with the latest style forms of Western music is obtained - new acoustic music (New Acoustic Music), an ambient electronic style derived from minimalism (Ambient) and a form of New Age music subordinate to the synthesis paradigm ( New Age).

The work attempts to comprehend the figure of the largest jazz innovator John Coltrane: the contradictions of the late work of this musician, due to external, distant from the jazz subculture social processes(spiritual self-determination and life choice of a generation of Negro jazz performers, formed against the backdrop of drug addiction of the black population).

The following provisions are put forward for defense:

1. The space of jazz can be localized and singled out exclusively as a series of specific racially and ethnically determined forms of improvisational presentation.

2. The development of the processes of jazz conservatism in the eighties of the XX century. and the emergence of the neoclassical post-bop style has not only artistic, but also socio-cultural causation.

3. If jazz as a genre phenomenon is localized in the categories of music-making developed from the basal practices of African and Afro-American cultures, then avant-garde jazz is only experimental improvisational music that no longer comes into contact with the original Negro tradition.

4. The nature of the synthesis in the music of styles: world fusion and jazz-rock, as well as the New Age style - having a close, albeit indirect, connection with jazz, must be sought in the processes of musical postmodernism. On a broader panoramic level, fusion should be classified as one of the forms of world globalization - a unifying process that blurs the differences between systems of ethnic cultures in favor of some generalized result.

5. We define the process by which established jazz assimilates new forms in terms of transforming normativity. The adoption of bebop by jazz society (critics, musicians and listeners) can actually be qualified as an act of normativity, which in this case was extended from early forms of archaic and transitional jazz to bebop.

Scientific and practical value of the research. The results of the work can be used as an auxiliary educational material in the courses "Mass musical genres", "Contemporary music", "History of music". In particular, the educational and methodological electronic video aid “Piano Jazz Styles” created on the basis of a dissertation research has become relevant for classes in the “History of Jazz” course: a training video course (Krasnodar, 2007. 6 episodes of 60 minutes each).

The general conclusions of the dissertation work are useful for performers and listeners who seek to penetrate into the deep meanings and subtexts of jazz as a sociocultural phenomenon. Separate provisions can find a rather diverse application in the scientific developments of the musicological - and more broadly - art history profile.

Approbation of work. The dissertation was discussed at the Department of Musical Media Technologies of the Conservatory of the Krasnodar State University of Culture and Arts, as well as the Department of Music Theory and History of the Rostov State Conservatory (Academy) named after. C.B. Rachmaninov. The main provisions of the work, reflected in 12 scientific publications of the author, were reported at international, all-Russian and regional scientific conferences in Rostov-on-Don (2002), Krasnodar (2005-2008) and Moscow (2007).

In addition, the issues considered in the dissertation research were presented on such websites developed by the applicant as: http://www.iazzguide.nm.ru (2005); http://www.kubanmedia.nm.ru (2005); http://existenz.gumer.info. (2007).

Work structure. The dissertation consists of an Introduction, three chapters, a Conclusion and an Appendix. The bibliographic list includes 216 titles, including 68 sources in English.

CONCLUSIONS ON THE THREE CHAPTER 1. Like any other form of art, jazz has a complex, sometimes non-linear form of development. Its formation is determined by social, political, racial, existential and cultural codes; a significant number of passionate individuals “wounded by the arrows of changing being” took part in the creation of this music. Accordingly, a one-sided approach that integrates only one research facet, whether it be a biographical method that requires rigorous methodological clarification or a historical study based on social characteristics, will suffer from the incompleteness and subtlety of the disclosed meanings.

2. The thinking on which the framework of John Coltrane's improvisations was built is innovative for its time. The appearance of this musician on the jazz proscenium opens up a fundamentally new layer in the development of jazz art. It can be argued that the contribution made by Coltrane to the development of improvisational music gave rise to a specific systematics, since, speaking about the improvisational thinking of jazz saxophonists of the younger generation, it is necessary to talk about performers of the pre-Coltrane period and musicians of the post-Coltrane orientation. Coltrane's work represents a kind of watershed separating the complex, intellectual, modal-filled modern jazz from its now classical predecessor.

3. To replace the shared by artists of the XIX - early XX centuries. Natural mysticism, drawing inspiration from Mithraic symbolism, the schizoid constructions of early Gnosticism, and the extraordinary symbolism of Hermeticism, received a completely different basis of worldview beliefs. At its core, this basis, which is typical for musicians of the free jazz scene, as well as for new composers (in particular, representatives of neoclassicism and minimalism), had a predominance of rational and contemplative approaches in understanding the processes of mental, cognitive and creative functioning, contemplation of pure psychological efficiency and gravitation towards transcendental hedonism.

4. Under the contemplation of psychological effectiveness, we mean a sequence of actions that combine the use of psychopractice methods (meditation), the use of hallucinogenic drugs and subsequent reflections on the subject of experienced emotional sensations, including being in unusual emotional modalities or encountering unexpected mosaics of unconscious imagery. In some cases, the results of comprehension of the processes of reflection were transformed by musicians into a kind of artistic techniques performance and compositional writing.

5. The factors through which Coltrane exercised his self-determination are ambivalent and syncretic. They diverge from the basic meanings on which the African-American orthodoxes built their self-identification. Thus, in the music of Coltrane's "I love supreme" disc, Christian connotations are clearly traced, the existence of which, with certain reservations, can be called close to the "black" African-American culture. On the other hand, you can't deny Coltrane's orientalism. The material of his records "First Meditations", "Meditations", "From" reveals conjugation with oriental material. As a result, the musical statements of the jazz artist resemble the direct speech of a European person who, having encountered samples of Eastern culture for the first time, tries to describe his impressions, using a dictionary that is accessible to the interlocutor. However, relying on words and definitions belonging to his native culture, he thereby inevitably transforms and distorts the original object, the sensations of which he tries to formulate.

6. Late creativity Coltrane has undergone evaluative destruction. The “spiritual” period of the musician did not fit into the paradigm of “black” music created by African-American researchers. At the same time, almost complete consensus was reached in the assessments of the early and intermediate period of creativity. In contrast to this, the solo Coltrane of the earlier pre-avant-garde period (1956-1964) is characterized by a significant number of researchers and musicians in terms of absolute innovation. However, Coltrane's avant-garde atonality, which gained momentum after the epoch-making “I love Supreme” disc of the year named by Down Beat magazine, received completely different, in some cases more restrained, assessments.

7. The artistic period of Coltrane's creativity, which unfolded from 1964 until his death in 1967, which followed in connection with liver cancer, is a unique precedent not only for African American, but also for world jazz in general.

CONCLUSION

Jazz is the music of the twentieth century. Music that fully repeated all the twists, ups and downs of both art and social processes of a bygone time. Does this mean that the era of jazz has passed, that formally its history has remained in the past, in the past historical scenery? Is the talk of the death of jazz justified?

Speaking metaphorically, it should be said that in the musical organism of the 20th century jazz played the role of a kind of nerve endings. In the twentieth century, nerve impulses were transmitted with enviable speed and speed, but no one has the power to go against natural and cultural entropy: as ancient philosophers said, everything that has a beginning has its end. The nerve impulses of jazz in recent decades have become more short-lived, slender and anemic. At the same time, it is still too early to talk about the complete aesthetic lifelessness and constancy of the genre to which our dissertation research is devoted.

In jazz, there is considerable space for a significant recombination of already existing ideas and styles. In the eighties, a new style made itself felt, called "M-base" ("M-Base"). The style was formed by the gifted saxophonist Steve Coleman, and then supported by such creative performers as Greg Osby, Gary Tomas, Cassandra Wilson. MC presented the jazz community with a fairly viable symbiosis. Within its framework, the performers tried to combine the rhythmic of Afro-American funk and hip-hop styles with developed improvisational sets that are not inferior in their semantic content to the best examples of post-bop. M-bass could not have the same significant impact on the development of the genre as, for example, jazz-rock. However, it certainly can be called a clear proof of the vitality of modern jazz.

As an antithesis to the work of ardent avant-garde artists, who consider it possible to develop jazz only in a non-tonal aleatoric space, let's turn to the magnificent recording of "Inspiration". The album, released in 1999 under the name of the African-American saxophonist Sam Rivers, can be called a verified development of modern jazz ideas, which, and this is the most important) does not cause doubts in its genre classification

An impressive ensemble of soloists works within the framework of "Inspiration" in the most interesting conceptual space. The album uses proven jazz schemes, but thanks to the combination of elements that are uncharacteristic of each other - funk rhythm, ostinato structures in wind brass, uncompromising, sometimes modal vocabulary of soloists, controlled heterophony, as well as violations of orchestral subordination, in which more than five successive solo statements get the right soloists, - "Inspiration" falls into the category of masterpieces of modern jazz. The most important thing here is that "Inspiration" does not borrow or utilize anything extraneous from jazz music. In this release, we see how the ideas developed over the past 50 years in "black" music are uniquely recombined, eventually forming into a fundamentally new, fresh-sounding material. "Inspiration" does not gravitate towards collective atonality and aleatorism, instead getting novelty due to the recombination of techniques already existing in jazz. It is this music, but not divorced from the avant-garde jazz paradigm, that we would like to call authentic modern jazz 23.

However, to what extent are the reserves of jazz material that can be developed by recombining constituent elements? Are there artistic metaphors and new creative techniques, with the help of which the material already existing in conventional normative jazz can be changed and enriched? It might sound bold and presumptuous

22 Characteristically, the Inspiration material was produced by the same Steve Coleman (creator of the MBs style).

23 For a more complete acquaintance of the readers with the material of the disk «Inspiration» in the Appendix there is a review of this disk, written by us in 2004. but, but we consider it possible to answer this question in the affirmative. The search for new methods and fresh metaphors for jazz improvisational thinking must be sought in other areas that are distant not only from jazz, but from music as such.

IN Soviet period Efim Barban made quite bold for his time attempts to substantiate the problems of jazz vocabulary and the normative aspects of improvisation through the prism of metaphors of linguistics, aesthetics and philology. Regardless of E. Barban, an attempt to implement such schemes was also made by Western philologists. In particular, the Canadian scientist Douglas Malcolm, who analyzed the relationship between literature and jazz, as well as Alan Perlman and Daniel Greenblatt.

The interest of philologists in jazz music is quite understandable, because jazz improvisation reveals elements characteristic of the act of verbal communication. If any notated work, as a rule, has a monolithic structure and system of meanings, then jazz is music that has a developed communicative resonance. The interaction of soloists with each other, mutual support, the development of a dialogue based on a predetermined set of signs, which, however, is unique for each act of speaking/improvisation, carries within itself a dense system of semantic attributes, whose functioning and semantic markers are definitely close to the rules and logic, implemented in verbal communication and language architectonics.

Despite the respectful attitude towards the philological studies of Barban, Malcolm and Pelerman, let us pay attention to a certain narrowness of their approaches. In the works of these scientists, jazz is analyzed in the system of philological and semantic coordinates. The space of jazz is described by them in an uncharacteristic sign and conceptual system. We, on the contrary, offer an act of feedback communication through an appeal to the language of literature.

The philosopher Gilles Deleuze admired the French writer Charles Péguy, considering his style to be the greatest achievement in French literature. This is how Deleuze characterizes Peguy's style: "he makes a sentence grow from the middle: instead of sentences following one another, he repeats the same Dice sentence with a small addition in the middle, which, in turn, gives rise to the next addition, etc." . It is quite obvious that the improvisational vocabulary characteristic of post-bop cannot develop in the categories of dominance of atonality and complete withdrawal into aleatoric without harming itself. The confident convergence of individual improvisers in areas far from jazz normativity leads them to the final loss of everything jazz. However, the jazz lexicon can be developed without abandoning it completely. What will happen if a young, free-thinking jazzman tries to use the aforementioned thesis of Deleuze as the central attribute of improvisation?

There are many influential performance styles in the jazz world that require unorthodox revision in the categories used by Charles Peguy. A bright recipient for the transfer of Peguy's stylistic algorithms to the field of jazz improvisation is the piano style of Telnius Monk. Monk's improvisational style has attracted a number of avant-garde pianists, including Anthony Davis and Mischa Mengelberg. It is not difficult to guess that in Monk's music, informal-minded musicians were primarily attracted by the possibility of style conversion. The model of jazz pianism created by Monk is extremely malleable for making subsequent changes, new accents and additions of a polyrhythmic, modal and even polyphonic nature. The exquisite development of this musician's style in the realm of unorthodox modal and post-bop components can be seen in the underrated pianist Andrew Hill24. In turn, in creativity

24 See Andrew Hill's albums "Black Fire", "Passing Ships" by another pianist - Ethan Iverson, the translation of Monk's stylistic systematics into an area remotely close to the canons of modern polyphony attracts attention. Against this background, it is rather bleak to state the almost complete absence of a qualitatively higher rethinking of Monk's jazz heritage by avant-garde artists Mikhail Mengelberg and Anthony Davis. Both of these musicians couldn't come up with anything but a clash between the heavy percussive aesthetic of Monk's improvisations and unexpected atonal "sonic duds". The avant-garde camp, apparently, could not offer another, more detailed look at the great style of Monk.

In our opinion, Thelonious Monk's musical baggage needs a new reading. And such a reading can only be made on the basis of unorthodox ideas. Monk's style is fully applicable to the categories characteristic of the literary style of Charles Peguy praised by Deleuze. Monk's improvisational style is, perhaps, the only one among the other stylistic solutions developed by the boppers, which can be reviewed from an evolutionary perspective. Monk created something amazing, a kind of constructor for an improviser. It seems to us that this constructor requires the translation of new coordinate rules into the system. If jazz youth managed to revise the Monkian language using the systematics described by C. Peguy (meaning the unexpected germination of one of the phrases already played in the space of another, with a kind of unforeseen prolifcations), this could be called a breakthrough in the jazz language. Monk needs more structure, translation through the improvisational language he created of another of the same language, which would be endowed with new attributes and meanings.

25 A modern polyphonic approach to T. Monk's music we could hear in Daniel Berkman's Jazz Solos program, broadcast by the French channel Mezzo, where Ethan Iverson performed the composition "Toronto typcal".

An additional stimulus for the development of jazz thinking, in our opinion, is extrapolation into the jazz space at the level of metaphors of elements from the field of Gestalt psychology. Recall that Gestaltists use complex illustrations that contain two drawings that are in a state of mutual overlap. An outside viewer, analyzing the illustration presented to him, immediately selects one pictorial layer, and only then tries to find the second latent illustration in what he sees. In turn, finding this illustration directly depends on the intensity of the viewer's cognitive activity, as well as the temporal reorientation of a number of analytical mechanisms. Gestalt approaches are fully applicable to both the perception and creation of music. Thus, an improviser can develop a bidirectional technique of playing, within the framework of which two rhythmic lines will be developed, with the first of these lines concealed by the second. The attention of the listener in the process of perceiving the solo can be reoriented from one rhythmic layer to another. In our opinion, the forcing of polyrhythmic structures in the post-Bop language can be considered as one of the tools for lexical renewal.

The sum of ideas, formulated by us above, is only a rudimentary conceptual material that requires a gifted passionate embodiment. Probably, jazz will live as long as the minds of new generations of musicians develop such ideas, multiplied by the need to create new symbioses and introduce new practices. At the same time, young people should not forget about the boundaries of music. Jazz is already a formed, established phenomenon. Experimental performers who co-compose improvisational technique with forms distant from jazz may, without realizing it, converge into other (non-jazz) areas.

The misfortune of many musicians is an attempt to grossly improve jazz by introducing new forms into it. Attempts to combine jazz with minimalism and ambient, as well as other style decisions drive? the emergence of some new, "third" form of music, which (to all intents and purposes) has little viability. In our opinion, it is possible to avoid the mistake: it is possible only if the improvised language itself is revised, but by no means the entire hierarchy and system of rules characteristic of d: as a whole. Unfortunately, a significant number of avant-garde thought! continues to think in line with the complete overcoming of the rules and attitudes d:

Tired Western European culture, represented by the European avant-garde, repeatedly tried to rework jazz forms and integrate them into the< стово ложе своих культурных архетипов. В каждом отдельном случае, то перформансы Луиса Склависа (Luise Sclavis) или неординарные гг«

Han Bennik, jazz was losing its face. Such contemporary Pey ensembles as the Vienna Art Orchestra and the ECP Orchestra have moved into postmodern contexts, doing not so much J; music, how much the combination of forms and endings that are far from each other, capable of arousing interest in a bored aesthetic public, this whole theater is actually designed for. The activity of the “London composers orchestra” associated with the leadership since the very appearance of the stake satisfied the personal ambitions of its creators rather than a contribution to the development of jazz music. The same can be said about schizoid; an hour of secondary discoveries by other masters of the new improvisational

So, is jazz alive? It should be understood that it is impossible to look for an answer to this> in obvious processes. The status of jazz cannot be clarified by the personal factor of festivals and concert performances. Children's performances, festivals and competitions in America, Europe, and now-r^b^

And Russia pass regularly. However, the very existence of a concert and festival

Ilnoy activity speaks only about the functioning of the business, the infrastructure that supports them. The performance of the music of Beethoven and Chopin on the stage takes place as often as the performance of the jazz music of these composers - there is a monolithic past that

Ktury, zya change, can only be relayed. Does something similar happen in jazz?

M-bass experiments of New York jazzmen; Matthew Ship's (MaShelu BYrr) interaction with electronic instrumentation and repetitiveness carried over into the realm of jazz; a new revival of jazz-rock in the categories of a normative stylistic unit - all this tells us that creative and aesthetic processes within the jazz space do not stand still. They are not as active as before. They will no longer be able to provoke a new cultural revolution, as it was in the post-war period with bebop. However, it is clear that the Jazz Age is not over yet. Without a doubt, the sociocultural paradigm of modern jazz makes both the aesthetic space of the genre itself and those who are in it dependent on economic processes. The path of innovation, artistic freedom is fraught with risk, ostracism and life's dead end. On the rise of revolutionary protest and self-expression, the "black" intellectuals of the forties came up with bebop, thereby raising jazz art to a fundamentally new level. However, today's post-industrial consumer segment of history is a completely different time. There are much fewer plans for a revolution in art, and jazz itself is increasingly turning into a constant professional performance.

At the same time, according to the teachers of jazz performance of the old and new worlds, quite a lot of motivated young people still go to the field of jazz education. They are not stopped by the low prestige and lack of economic guarantees that are so characteristic of the profession of a jazz musician. These people, as is typical of a certain age, maximalist, virginal and unbiased perceive those creative potentials and that inner existential freedom that jazz music bestows. And we sincerely hope that passionarity and purposefulness modern youth will help her create new samples of music, which we can proudly call Jazz.

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

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

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

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

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

Research artistic activity the works of M. S. Kagan, Yu. U. Fokht-Babushkin, and N. A. Khrenov are devoted. 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. Glazer in periodicals 30-40s: magazines "Metronome" and "Down-beat".

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

In one of the fundamental reference publications The Oxford Encyclopedia of Jazz (2000) is given detailed description 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 jazz pianists of this period.

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

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

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

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

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

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

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

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

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

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

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

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

Scientific novelty of the research

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

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

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

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

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

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

Basic provisions for defense

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

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

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

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

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

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

Theoretical and practical significance 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

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 the work of famous performers and musicians, then in this dissertation research the work of little-known pianists (D. Guarnieri, M. Buckner, D. Stacey, C. Thornhill, JI. Tristano) is specially studied, a significant role of their work in the development of currents and styles of contemporary 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 tap, jazz dance, and influenced dance art XX century. Jazz was the basis of new forms in art - musical, film musical, musical film, film review, show programs.

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

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

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

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

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

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

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

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