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History Jazz has roots in the combination of Western and African music traditions, including spirituals, blues and ragtime, stemming ultimately from West Africa, western Sahel, and New England's religious hymns and hillbilly music, as well as in European military band music. After originating in African American communities near the beginning of the 20th century, jazz gained international popularity by the 1920s. Since then, jazz has had a pervasive influence on other musical styles worldwide. Even today, various jazz styles continue to evolve. The word jazz itself is rooted in American slang, probably of sexual origin, although various alternative derivations have been suggested. According to University of Southern California film professor Todd Boyd, the term was originally slang for sexual intercourse as its earliest musicians found employment in New Orleans brothel parlors, with the word deriving from the term 'jass'. The term "jass" was rude sexual slang, related either to the term "jism" or to the jasmine perfume popular among urban prostitutes. Lacking an attentive audience, the musicians began to play for each other and their performances achieved esthetic complexity not evident in ragtime. At the root of jazz is the blues, the folk music of former enslaved Africans in the U.S. South and their descendants, heavily influenced by West African cultural and musical traditions, that evolved as black musicians migrated to the cities. According to Pulitzer Prize-winning African American composer and classical and jazz trumpet virtuoso Wynton Marsalis: Jazz is something Negroes invented, and it said the most profound things -- not only about us and the way we look at things, but about what modern democratic life is really about. It is the nobility of the race put into sound ... jazz has all the elements, from the spare and penetrating to the complex and enveloping. It is the hardest music to play that I know of, and it is the highest rendition of individual emotion in the history of Western music. Needless to say, the view of jazz as simply and solely "black music" is controversial. Numerous non-black musicians (Bix Beiderbecke, Benny Goodman, Harry James, Zoot Sims, Gerry Mulligan, Bill Evans, Stan Getz, Dave Brubeck, and Charlie Haden among others) have made important contributions to jazz. In addition, it could be argued that jazz would not exist without both instruments invented or developed by Europeans (the trumpet, saxophone, trombone, double bass, etc.) and the previous work of Europeans in music theory, which was explored in different ways by jazz musicians, such as increased use of the seventh chord and extended chords. The origins of jazz are multicultural, not entirely "pure," and perhaps reflect the hybrid nature of American culture more than any other art form. Early jazz influences found their first mainstream expression in the marching band and dance band music of the day, which was the standard form of popular concert music at the turn of century. The instruments of these groups became the basic instruments of jazz: brass, reeds, and drums, and are voiced in the Western 12-tone scale. Other regional styles Meanwhile, other regional styles were developing which would influence the development of jazz. African-American minister Rev. Daniel J. Jenkins of Charleston, South Carolina, was an unlikely figure of far-reaching importance in the early development of jazz. In 1891, Jenkins established the Jenkins Orphanage for boys and four years later instituted a rigorous music program in which the orphanage's young charges were taught the religious and secular music of the day, including overtures and marches. Precocious orphans and defiant runaways, some of whom had played ragtime in bars and brothels, were delivered to the orphanage for "salvation" and rehabilitation and made their musical contributions, as well. In the fashion of the Fisk Jubilee Singers and Fisk University, the Jenkins Orphanage Bands traveled widely, earning money to keep the orphanage afloat. It was an expensive enterprise. Jenkins typically took in approximately 125 – 150 "black lambs" yearly, and many of them received formal musical training. Less than 30 years later, five bands operated nationally, with one traveling to England — again in the Fisk tradition. It would be hard to overstate the influence of the Jenkins Orphanage Bands on early jazz, scores of whose members went on to play with jazz legends like Duke Ellington, Lionel Hampton and Count Basie. Among them were the likes of trumpet virtuosos Cat Anderson, Gus Aitken and Jabbo Smith. In the northeastern United States, a "hot" style of playing ragtime developed. While centered in New York City, it could be found in African-American communities from Baltimore to Boston. Some later commentators have categorized it after the fact as an early form of jazz, while others disagree. It was characterized by rollicking rhythms, but lacked the distinctly bluesy influence of the southern styles. The solo piano version of the northeast style was typified by such players as noted composer Eubie Blake, the son of slaves, whose musical career spanned an impressive eight decades. James P. Johnson took the northeast style and around 1919 developed a style of playing that came to be known as "stride." In stride piano, the right hand plays the melody, while the active left hand "walks" or "strides" from upbeat to downbeat, maintaining the rhythm. Johnson influenced later pianists like Fats Waller and Willie Smith. The top orchestral leader of the style was James Reese Europe, and his 1913 and 1914 recordings preserve a rare glimpse of this style at its peak. It was during this time that Europe's music profoundly influenced a young George Gershwin, who would go on to compose the jazz-inspired classic "Rhapsody in Blue." By the time Europe recorded again in 1919, he was in the process of incorporating the influence of the New Orleans style into his playing. The recordings of Tim Brymn give later generations another look at the northeastern hot style with little of the New Orleans influence yet evident. In Chicago at the start of the 1910s, a popular type of dance band consisted of a saxophone vigorously ragging a melody over a 4-square rhythm section. The city soon fell heavily under the influence of waves of New Orleans musicians, and the older style blended with the New Orleans style to form what would be called "Chicago Jazz" starting in the late 1910s. Along the banks of the Mississippi around Memphis, Tennessee to St. Louis, Missouri, another band style developed incorporating the blues. The most famous composer and bandleader of the style was the "Father of the Blues," W.C. Handy. While in some ways similar to the New Orleans style (Bolden's influence may have spread upriver), it lacked the freewheeling improvisation found further south. Handy, indeed, for many years denounced jazz as needlessly chaotic, and, in his style, improvisation was limited to short fills between phrases and was considered inappropriate for the main melody. The national spread of ‘jass’ music A number of educated "colored" New Orleanians left the South due to increasingly restrictive Jim Crow laws, at first heading mostly to California. One of these was musician Bill Johnson, who thought a good New Orleans-style band would have commercial possibilities out West. Johnson sent for some of the city's best hot musicians, including Freddie Keppard, to join him at the start of the 1910s, forming the Original Creole Orchestra. A vaudeville promoter caught the band playing to enthusiastic crowds in between rounds at a boxing match and booked the band to tour the nation on the Pantages Circuit. The members of the Creole Orchestra wrote their colleagues back home that hot New Orleans musicians could make much better money playing their style up North and out West than they could at home, encouraging many to start spreading the style around the nation. Chicago was one of the first cities to embrace the new style, and from some accounts it was here that the New Orleans style was first popularly christened "jass." Back in New Orleans, it was called by such names as "ratty music", "hot music," or simply "ragtime" (Sidney Bechet often continued to call his music "ragtime" as late as the 1950s). The style was so different from the ragtime and dance music of the rest of the nation, that a new name was needed to distinguish it. Apparently, the first band billed as playing "jass" was that of trombonist Tom Brown. The term "jass" was rude sexual slang, related to the term "jism" (an alternative explanation relates the term to jasmine, which may have been an attempt to create a less risque story). One group that followed the Original Creoles and Tom Brown to Chicago went North in 1916 as "Stein's Dixie Jass Band." These veterans of the Papa Jack Laine bands made their way to New York City the following year, calling themselves "The Original Dixieland Jass Band." In New York, they had an opportunity to record phonograph records. The discs, recorded as a novelty, were a surprise national hit, and "jass" quickly became a national craze. It was in New York where "jass" became "jazz" in the late 1910s, purportedly because mischievous people were making a habit of scratching out the "J"s on posters, which then, unfortunately, advertised "ass band"s. Jazz in the 1920s The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921. Two disparate, but important, inventions of the second half of the nineteenth century quietly had set the stage for jazz to capture the spotlight in American popular music by the 1920s. George Pullman's invention of the sleeping car in 1864 brought a new level of luxury and comfort to the nation's railways; and Thomas Edison's invention, in 1877, of the phonograph record made quality music accessible to virtually everyone. Pullman's ingenious, rolling sleeping quarters provided employment to legions of African-American men, who criss-crossed the nation as sleeping car porters; and by the second decade of the twentieth century, the Pullman Company employed more African-Americans than any single business concern in the United States. But Pullman porters were more than solicitous, smiling faces in smart, navy blue uniforms. The most dapper and sophisticated of them were culture bearers, spreading the card game of bid whist, the latest dance crazes, regional news, and a heightened sense of black pride to cities and towns wherever the railways reached. Many porters also shared, traded and even sold "race records" to augment their income, speeding artistic innovations to musicians eager to hear the latest; spreading among the general public an awareness of and appreciation for this rapidly evolving musical form; and, in the process, putting jazz on the fast track to first U.S., then worldwide, acclaim. With Prohibition, the constitutional amendment that forbade the sale of alcoholic beverages, the legal saloons and cabarets were closed; but in their place hundreds of speakeasies appeared, where patrons drank and musicians entertained. The presence of dance venues and the subsequent increased demand for accomplished musicians meant more artists were able to support themselves by playing professionally. As a result, the numbers of professional musicians increased, and jazz—like all the popular music of the 1920s—adopted the 4/4 beat of dance music. Another nineteenth-century invention, radio, came into its own in the 1920s, after the first commercial radio station in the U.S. began broadcasting in Pittsburgh in 1922. Radio stations proliferated at a remarkable rate, and with them, the popularity of jazz. Jazz became associated with things modern, sophisticated, and decadent. The third decade of the new century, a time of technological marvels, flappers, flashy automobiles, organized crime, bootleg whiskey, and bathtub gin, would come to be known as the Jazz Age. Key figures of the decade This USPS stamp celebrates the rise of jazz in the 1920s King Oliver was "jazz king" of Chicago in the early 1920s, when Chicago was the national hub of jazz. His band was the epitome of the New Orleans hot ensemble jazz style. Unfortunately, his band's recordings were little heard outside of Chicago and New Orleans, but the ensemble was a powerful influence on younger musicians, both black and white. Sidney Bechet was the first master jazz musician to take up what previously often had been dismissed as a novelty instrument, the saxophone. Bechet helped propel jazz in more individualistic personality- and solo-driven directions. In this last point, Bechet was joined by a young protege of King Oliver, Louis Armstrong, who was to become one of the major forces in the development of jazz. Armstrong was an extraordinary improviser, capable of creating endless variations on a single melody. Armstrong also popularized scat singing, an improvisational vocal technique in which nonsensical syllables or words are sung or otherwise vocalized, often as part of a call-and-response interaction with other musicians onstage. His unique, gravely voice and innate sense of swing made scat an instant hit. Arguably, Bix Beiderbecke was both the first white and the first non-New Orleanian to make major original contributions to the development of jazz with his legato phrasing, bringing the influence of classical romanticism to jazz. Paul Whiteman was the most commercially successful bandleader of the 1920s, billing himself as "The King of Jazz." Sacrificing spontaneous improvisation for the sake of elaborate written arrangements, Whiteman claimed to be "making a lady out of jazz." Despite his hiring Bix and many of the other best white jazz musicians of the era, later generations of jazz lovers have often judged Whiteman's music to have little to do with real jazz. Nonetheless, his notion of combining jazz with elaborate orchestrations has been returned to repeatedly by composers and arrangers of later decades. It was Whiteman who commissioned Gershwin's "Rhapsody in Blue," which was debuted by Whiteman's Orchestra. Fletcher Henderson led the top African American band in New York City. At first he wished to follow the lead of Paul Whiteman, but after hiring Louis Armstrong to play in his band, Henderson realized the importance of the improvising soloist in developing jazz bands. Henderson's arrangements would play a significant role in the development of the Big Band era in the following decade. Young pianist and bandleader Duke Ellington first came to national attention in the late 1920s with his tight band making many recordings and radio broadcasts. Ellington's importance would grow in the coming decades. Today he is widely regarded as one of the most important composers in jazz history. 1930s to 1950s While the solo became more important in jazz, popular bands became larger in size. The Big band became the popular provider of music for the era. Big bands varied in their jazz content; some (such as Benny Goodman's Orchestra) were highly jazz oriented, while others (such as Glenn Miller's) left little space for improvisation. Most were somewhere in between, having some musicians adept at jazz solos playing with section men who kept the rhythm and arrangements going. However even bands without jazz soloists adopted a sound owing much to the jazz vocabularity, for example sax sections playing what sounded like an improvised variation on a melody (and may have originated as a transcription of one). Key figures in developing the big jazz band were arrangers and bandleaders Fletcher Henderson, Don Redman and the man sometimes deemed the most prolific composer in American history, Duke Ellington. In the early 1920s, popular music was still a mixture of things—current dance numbers, novelty songs, show tunes. "Businessman's bounce music," as one horn player put it. But musicians with steady jobs, playing with the same companions, were able to go far beyond that. The Ellington band at the Cotton Club and the various Kansas City groups that became the Count Basie band date from this period. Over time, social strictures regarding racial segregation began to relax in entertainment. White bandleaders, who tended to mold the music more to orthodox rhythms and harmony, began to recruit black musicians. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraharpist Lionel Hampton, and guitarist Charlie Christian to join small groups. During this period, the popularity of swing (genre) and big band music was at its height, making stars of such men as Glenn Miller and Duke Ellington. Swing, the popular music of its time, covered a broad spectrum from "sweet" to "hot" bands, with the jazz content varying across the range. The influence of Louis Armstrong also continued to grow. Musicians and bandleaders like Cab Calloway — and, later, trumpeter Dizzy Gillespie and Pop vocalists like Bing Crosby embraced Armstrong's style of improvising on the melody, and U.S. pop singers seldom since have rendered a tune "straight," in the pre-jazz style. In Crosby's mould, artists famed for their vocals rather than instrumental skills also began to emerge as great 'jazz singers' in the form of vocalists like Ella Fitzgerald, Billie Holliday and later, Frank Sinatra and Sarah Vaughan, all of whom jumped on the scat bandwagon that galvanised the genre till the 1950s. A development of swing in the early 1940s known as "jumping the blues" or jump music anticipated rhythm and blues and rock and roll in some respects. It involved the use of small combos instead of big bands and a concentration on up-tempo music using the familiar blues chord progressions. Drawing largely upon the evolution of boogie-woogie in the 1930s, it used a doubled rhythm—that is, the rhythm section played "eight to the bar," eight beats per measure instead of four. Big Joe Turner, a Kansas City singer who worked in the 1930s with Swing bands like Count Basie's, became a boogie-woogie star in the 1940s and then in the 1950s was one of the first innovators of rock and roll, notably with his song "Shake, Rattle and Roll". Another jazz founder of rock and roll was saxophonist Louis Jordan. Development of bebop The next major stylistic turn came in the 1940s with bebop, led by such distinctive stylists as the saxophonist Charlie Parker (known as "Yardbird" or "Bird"), Bud Powell and Dizzy Gillespie. This marked a major shift of jazz from pop music for dancing to a high-art, less-accessible, cerebral "musician's music." Thelonious Monk, while too individual to be strictly a bebop musician, was also associated with this movement. Bop musicians valued complex improvisations based on chord progressions rather than melody. Hard bop moved away from cool jazz, incorporating influences from soul music, gospel music, and the blues. Hard bop was at the peak of its popularity in the 1950s and 1960s, and was associated with such figures as Sonny Rollins, John Coltrane, Miles Davis, Art Blakey and Charles Mingus. Later, bebop and hard bop musicians, such as trumpeter Miles Davis, made more stylistic advances with modal jazz, where the harmonic structure of pieces was much more free than previously, and was frequently only implied -- by skeletal piano chords and bass parts. The instrumentalists then would improvise around a given mode of the scale. Latin jazz Main article: Latin jazz Latin jazz has two varieties: Afro-Cuban and Brazilian. Afro-Cuban jazz was played in the U.S. directly after the bebop period, while Brazilian jazz became more popular in the 1960s and 1970s. Afro-Cuban jazz began as a movement after the death of Charlie Parker. Notable bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands at that time. Gillespie's work was mostly with big bands of this genre. While the music was influenced by such Cuban and Puerto Rican musicians as Tito Puente and, much later, Arturo Sandoval, there were many Americans who were drawing upon Cuban rhythms for their work. Brazilian jazz is, in North America at least, nearly synonymous with bossa nova, a Brazilian popular style which is derived from samba with influences from jazz as well as other 20th-century classical and popular music. Bossa is generally slow, played around 80 beats per minute or so. The music uses straight eighths, rather than swing eighths, and also uses difficult polyrhythms. The best-known bossa nova compositions are considered to be jazz standards in their own right. The related term jazz-samba essentially describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd, and usually played at 120 beats per minute or faster. Samba itself is actually not jazz but, being derived from older Afro-Brazilian music, it shares some common characteristics. Free jazz Main article: Free jazz Free jazz, or avant-garde jazz, is a subgenre that, while rooted in bebop, typically uses less compositional material and allows performers more latitude in what they choose to play. Free jazz's greatest departure from other styles is in the use of harmony and a regular, swinging tempo: Both are often implied, utilized loosely, or abandoned altogether. These approaches were rather controversial when first advanced, but have generally found acceptance — though sometimes grudgingly — and have been utilized in part by other jazz performers. There were earlier precedents, but free jazz crystalized in the late 1950's, especially via Ornette Coleman and Cecil Taylor, and probably found its greatest exposure in the late 1960s with John Coltrane, Archie Shepp, Albert Ayler, Sun Ra, Pharoah Sanders, Sam Rivers, Leroy Jenkins, Don Pullen and others. While perhaps less popular than other styles, free jazz has exerted an influence to the present. Peter Brotzmann, Ken Vandermark, William Parker, Derek Bailey and Evan Parker are leading contemporary free jazz musicians, and musicians such as Coleman, Taylor and Sanders continue to play in this style. Keith Jarrett has been prominent in defending free jazz from criticism by traditionalists in recent years. Jazz and rock music: jazz fusion Main article: Jazz fusion Bitches Brew is often cited as the most influential record in the history of jazz fusion. With the growth of rock and roll in the 1960s, came the hybrid form jazz-rock fusion, again involving Miles Davis, who recorded the fusion albums In a Silent Way and Bitches Brew in 1968 and 1969 respectively. Jazz was by this time no longer center stage in popular music, but was still breaking new ground and combining and recombining in different forms. Notable artists of the 1960s and 1970s jazz and fusion scene include: Chick Corea, Herbie Hancock and his Headhunters band, John McLaughlin and the Mahavishnu Orchestra, Al Di Meola, Jean-Luc Ponty, Sun Ra, Soft Machine, Narada Michael Walden (who would later enjoy huge success as a music producer), Wayne Shorter, Jaco Pastorius, the Pat Metheny Group and Weather Report. Some of these have continued to develop the genre into the 2000s. Recent developments The stylistic diversity of jazz has shown no sign of diminishing, absorbing influences from such disparate sources as world music and avant garde classical music, including African rhythm and traditional structure, serialism, and the extensive use of chromatic scale, by such musicians as Ornette Coleman and John Zorn. Beginning in the 1970s with such artists as Keith Jarrett, Paul Bley, Billy Childs, the Pat Metheny Group, Jan Garbarek, Ralph Towner, and Eberhard Weber, the ECM record label established a new chamber-music aesthetic, featuring mainly acoustic instruments, and incorporating elements of world music and folk music. This is sometimes referred to as "European" or "Nordic" jazz, despite some of the leading players being American. However, the jazz community has shrunk dramatically and split, with a mainly older audience retaining an interest in traditional and "straight-ahead" jazz styles, a small core of practitioners and fans interested in highly experimental modern jazz, and a constantly changing group of musicians fusing jazz idioms with contemporary popular music genres. The latter have formed such styles as acid jazz which contains elements of 1970s disco, acid swing which combines 1940s style big-band sounds with faster, more aggressive rock-influenced drums and electric guitar, and nu jazz which combines elements of jazz and modern forms of electronic dance music. Exponents of the "acid jazz" style which was initially UK-based included the Brand New Heavies, James Taylor Quartet, Young Disciples, and Corduroy. In the United States, acid jazz groups included the Groove Collective, Soulive, and Solsonics. In a more pop or smooth jazz context, jazz enjoyed a resurgence in the 1980s with such bands as Pigbag and Curiosity Killed the Cat achieving chart hits in Britain. Sade Adu became the definitive voice of smooth jazz. There have been other developments in the 1980s and 1990s that were less commercially oriented. Many of these artists, notably Wynton Marsalis, called what they were doing jazz and in fact strove to define what the term actually meant. They sought to create within what they felt was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. In the case of Marsalis these efforts met with critical acclaim. Others musicians in this time period - although clearly within the tradition of the great spontaneous composers such as Charlie Parker, John Coltrane, Fats Navarro and many others – choose to distance themselves from the term jazz and simply define what they were doing as music (this in fact was suggested by the great composer Duke Ellington when the term jazz first began to be popular). Alternatively they created their own names for what they were doing (such as M-Base). Many of these artists agree with the creative guitarist Jean-Paul Bourelly who feels that "You shouldn't categorize according to styles of music, you should categorize in terms of creative levels". These musicians feel that rhythm is the key for further progress in the music. Bourelly, similar to M-Base, believes that the rhythmic innovations of James Brown and other Funk pioneers can provide an effective rhythmic base for spontaneous composition. However, the ideas of these musicians go far beyond simply playing over a funk groove, extending the rhythmic ideas in a way analogous to what had been done with harmony in previous times. Some of the musicians involved in the approach called M-Base even view this as Rhythmic Harmony. Others, like Wynton Marsalis, disagree with this point of view, preferring instead to retain the rhythmic base of swing for creating their music. However, all of these artists participate in spontaneous composition and only differ in creative focus and what could be called groove emphasis. With the rise in popularity of various forms of electronic music during the late 1980s and 1990s, some jazz artists have attempted a fusion of jazz with more of the experimental leanings of electronica (particularly IDM and Drum and bass) with various degrees of success. This has been variously dubbed "future jazz", "jazz-house" or "nu jazz". The more experimental and improvisional end of the spectrum includes Scandinavia-based artists such as pianist Bugge Wesseltoft, trumpeter Nils Petter Molv?r (who both began their careers on the ECM record label), and the trio Wibutee, all of whom have gained their chops as instrumentalists in their own right in more traditional jazz circles. The Cinematic Orchestra from the UK or Julien Lourau from France have also gained praise in this area. Toward the more pop or pure dance music end of the spectrum of nu jazz are such proponents as St Germain and Jazzanova, who incorporate some live jazz playing with more metronomic house beats. In the 2000s, "jazz" hit the pop charts and blended with contemporary Urban music through the work of artists like Norah Jones, Jill Scott, Jamie Cullum, Erykah Badu, Amy Winehouse and Diana Krall and the jazz advocacy of performers who are also music educators (such as Jools Holland, Courtney Pine and Peter Cincotti). Some of these new styles may be light on improvisation, a key characteristic of jazz. However, their instrumentation and rhythms are similar to other jazz music, and the label has stuck. Improvisation Reggie Workman, Pharaoh Sanders, and Idris Muhammad, c. 1978 Jazz is often difficult to define, but improvisation is unquestionably a key element of the form. Improvisation has been since early times an essential element in African and African-American music and is closely related to the pervasiveness of call and response in West African and African-American cultural expression. The exact form of improvisation has changed over time. Early folk blues music often was based around a call and response pattern, and improvisation would factor into the lyrics, the melody, or both. Part of the Dixieland style involves musicians taking turns playing the melody while the others make up counter lines to go with it. By the Swing era, big bands played carefully arranged sheet music, but the music often would call for one member of the band to stand up and play a short, improvised solo. In bebop, however, the focus shifted from the cleverness of arrangement to the cleverness of improvisation over the form; musicians gave comparably little attention to the composed melody, or "head," which was played at the beginning and the end of the performance. As previously noted, later styles of jazz, such as modal jazz, abandoned the strict notion of a chord progression, allowing the individual musicians to improvise more freely within the context of a given scale or mode. The best-known example of this is the classic Miles Davis album Kind of Blue. When a pianist or guitarist improvises an accompaniment while a soloist is playing, it is called comping or vamping. Black musicians frequently used the melody, structure, and beat of marches as points of departure; but says "North by South, from Charleston to Harlem," a project of the National Endowment for the Humanities: "...a black musical spirit (involving rhythm and melody) was bursting out of the confines of European musical tradition, even though the performers were using European styled instruments. This African-American feel for rephrasing melodies and reshaping rhythm created the embryo from which many great black jazz musicians were to emerge." Many black musicians also made a living playing in small bands hired to lead funeral processions in the New Orleans African-American tradition. These Africanized bands played a seminal role in the articulation and dissemination of early jazz. Traveling throughout black communities in the Deep South and to northern big cities, these musician-pioneers were the Hand helping to fashion the music's howling, raucous, then free-wheeling, "raggedy," ragtime spirit, quickening it to a more eloquent, sophisticated, swing incarnation. For all its genius, early jazz, with its humble, folk roots, was the product of primarily self-taught musicians. But an impressive postbellum network of black-established and -operated institutions, schools, and civic societies in both the North and the South, plus widening mainstream opportunities for education, produced ever-increasing numbers of young, formally trained African-American musicians, some of them schooled in classical European musical forms. Lorenzo Tio and Scott Joplin were among this new wave of musically literate jazz artists. Joplin, the son of a former slave and a free-born woman of color, was largely self-taught until age 11, when he received lessons in the fundamentals of music theory from a classically trained German immigrant in Texarkana, Texas. Also contributing to this trend was a tightening of Jim Crow laws in Louisiana in the 1890s, which caused the expulsion from integrated bands of numbers of talented, formally trained African-American musicians. The ability of these musically literate, black jazzmen to transpose and then read what was in great part an improvisational art form became an invaluable element in the preservation and dissemination of musical innovations that took on added importance in the approaching big-band era. The United States music scene at the start of the 20th century By the turn of the century, American society had begun to shed the heavy-handed, straitlaced formality that had characterized the Victorian era. --citation needed Strong influence of African American music traditions had already been a part of mainstream popular music in the United States for generations, going back to the 19th century minstrel show tunes and the melodies of Stephen Foster. Public dance halls, clubs, and tea rooms opened in the cities. Curiously named black dances inspired by African dance moves, like the shimmy, turkey trot, buzzard lope, chicken scratch, monkey glide, and the bunny hug eventually were adopted by a white public. The cake walk, developed by slaves as a send-up of their masters' formal dress balls, became the rage. White audiences saw these dances first in vaudeville shows, then performed by exhibition dancers in the clubs. The popular dance music of the time was not jazz, but there were precursor forms along the blues-ragtime continuum of musical experimentation and innovation that soon would blossom into jazz. Popular Tin Pan Alley composers like Irving Berlin incorporated ragtime influence into their compositions, though they seldom used the specific musical devices that were second nature to jazz players—the rhythms, the blue notes. Few things did more to popularize the idea of hot music than Berlin's hit song of 1911,"Alexander's Ragtime Band," which became a craze as far from home as Vienna. Although the song wasn't written in rag time, the lyrics describe a jazz band, right up to jazzing up popular songs, as in the line, "If you want to hear the Swanee River played in ragtime...." The early New Orleans "jass" style A number of regional styles contributed to the early development of jazz. Arguably the single most important was that of the New Orleans, Louisiana area, which was the first to be commonly given the name "jazz" (early on often spelled "jass"). The city of New Orleans and the surrounding area had long been a regional music center. People from many different nations of Africa, Europe, and Latin America contributed to New Orleans' rich musical heritage. In the French and Spanish colonial era, slaves had more freedom of cultural expression than in the English colonies of what would become the United States. In the Protestant colonies African music was looked on as inherently "pagan" and was commonly suppressed, while in Louisiana it was allowed. African musical celebrations held at least as late as the 1830s in New Orleans' "Congo Square" were attended by interested whites as well, and some of their melodies and rhythms found their way into the compositions of white Creole composer Louis Moreau Gottschalk. In addition to the slave population, New Orleans also had North America's largest community of free people of color, some of whom prided themselves on their education and used European instruments to play both European music and their own folk tunes. According to many New Orleans musicians who remembered the era, the key figures in the development of the new style were flamboyant trumpeter Buddy Bolden and the members of his band. Bolden is remembered as the first to take the blues — hitherto a folk music sung and self-accompanied on string instruments or blues harp (harmonica) — and arrange it for brass instruments. Bolden's band played blues and other tunes, constantly "variating the melody" (improvising) for both dance and brass band settings, creating a sensation in the city and quickly being imitated by many other musicians. By the early years of the 20th century, travelers visiting New Orleans remarked on the local bands' ability to play ragtime with a "pep" not heard elsewhere. Characteristics which set the early New Orleans style apart from the ragtime music played elsewhere included freer rhythmic improvisation. Ragtime musicians elsewhere would "rag" a tune by giving a syncopated rhythm and playing a note twice (at half the time value), while the New Orleans style used more intricate rhythmic improvisation often placing notes far from the implied beat (compare, for example, the piano rolls of Jelly Roll Morton with those of Scott Joplin). The New Orleans style players also adopted much of the vocabulary of the blues, including bent and blue notes and instrumental "growls" and smears otherwise not used on European instruments. Key figures in the early development of the new style were Freddie Keppard, a dark Creole of color who mastered Bolden's style; Joe Oliver, whose style was even more deeply soaked in the blues than Bolden's; and Kid Ory, a trombonist who helped crystallize the style with his band hiring many of the city's best musicians. The new style also spoke to young whites as well, especially the working-class children of immigrants, who took up the style with enthusiasm. Papa Jack Laine led a multi-ethnic band through which passed almost all of two generations of early New Orleans white jazz musicians (and a number of non-whites as well). |
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Obnx PC  
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Äàæå åñëèá ýòî áûëî ïî-ðóññêè,òî ÿ áû íèàñèëèë. 
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Reason & Cubase User
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 03.05.2006 19:47 |
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MSK lefthanded 
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 ïðîìò çàãîíè ) | |
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 04.05.2006 03:27 |
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Moscow Saxophone
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Óõ òû ¸ïò!!! ñêîëüêî $$$? ÿ òî êîíå÷íî âñ¸ ïîíÿë, íî ëó÷øå òåáå â ïåðåâîä. êîíòîðó ïîéòè... |
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Bright Moments...!(ñ)
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 04.05.2006 11:30 |
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Íàôèê ýòî ïåðåâîäèòü? Ïîäîáíîé èíôû íàâàëîì è íà ðóññêîì ÿçûêå.. | |
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 04.05.2006 12:48 |
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Moscow Saxophone
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Êîçëîâ âûïóñêàë ìï3 ñåðèþ "èñòîðèÿ äæàçà". Íà êàæäîì äèñêå ïðèêîëüíàÿ ïîäáîðêà ïî ñòèëþ. Ïîïàäàëèñü ðåàëüíî ðåäêèå çàïèñè... È íà äèñêàõ òàêæå òåêñòîâûå äîêóìåíòû ïðî ðàçíûå äæàçîâûå ñòèëè. Avanguard, bebop, hardbop, funky jazz, smooth, fusion....  òîì ÷èñëå è ÏÅÐÅÂÎÄÛ ôðàãìåíòîâ ðàçíûõ àìåðèêàíñêèõ êíèã îá èñòîðèè äæàçà. |
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Bright Moments...!(ñ)
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 06.05.2006 22:49 |
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Moscow ãèòàðà
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ìîæåò ñîáåðåìñÿ âñåì ôîðóìîì è ïî ôðàçêå ïåðåâåäåì? 
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 07.05.2006 11:06 |
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T18
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Àãà! Æëîáüå!!! òðóäíî ïåðåâåñòè/ êàê ïåòü íà àíãëèéñêîì, òàê âñå ñðàçó çíàþò ÿçûê, à êàê ïåðåâåñòè ïîëåçíóþ ñòàòüþ, òî êðàéíåãî íåò Äæàç èìååò êîðíè â êîìáèíàöèè Çàïàäíûõ è àôðèêàíñêèõ òðàäèöèé ìóçûêè, âêëþ÷àÿ ñïàéðèòóàëñ, áëþçà è ðýãòàéìà, ïðîèñõîäÿ, â êîíå÷íîì ñ÷åòå, èç Çàïàäíîé Àôðèêè, çàïàäíîãî Ñàõýëü, è ðåëèãèîçíûõ ãèìíîâ Íîâîé Àíãëèè è ìóçûêè êàíòðè, òàê æå êàê â åâðîïåéñêîé ìóçûêå âîåííîãî îðêåñòðà. Ïîñëå âîçíèêíîâåíèÿ â Àôðî-àìåðèêàíñêèõ ñîîáùåñòâàõ îêîëî íà÷àëà 20-îãî ñòîëåòèÿ, äæàç ïîëó÷èë ìåæäóíàðîäíóþ ïîïóëÿðíîñòü â 1920-õ. Ñ òåõ ïîð, äæàç èìåë ðàñïðîñòðàíÿþùååñÿ âëèÿíèå íà äðóãèå ìóçûêàëüíûå ñòèëè âî âñåì ìèðå. Äàæå ñåãîäíÿ, ðàçëè÷íûå äæàçîâûå ñòèëè ïðîäîëæàþò ðàçâèâàòüñÿ. Äæàç ñàìîãî ñëîâà âíåäðåí â àìåðèêàíñêîì ñëåíãå, âåðîÿòíî ñåêñóàëüíîãî ïðîèñõîæäåíèÿ, õîòÿ ðàçëè÷íûå àëüòåðíàòèâíûå ïðîèñõîæäåíèÿ ïðåäëîæèëèñü. Ñîãëàñíî Óíèâåðñèòåòó Þæíîãî Êàëèôîðíèéñêîãî ïðîôåññîðà ôèëüìà Òîääà Áîéäà, ñðîê áûë ïåðâîíà÷àëüíî ñëåíãîì äëÿ ïîëîâûõ ñíîøåíèé êàê åãî ñàìûå ðàííèå ìóçûêàíòû, íàéäåííûå çàíÿòîñòüþ â Íîâîîðëåàíñêèõ êîìíàòàõ áîðäåëÿ, ñî ñëîâîì, ïðîèñõîäÿùèì îò ñðîêà 'äæàññ'. Ñðîê "äæàññ" áûë ãðóáûì ñåêñóàëüíûì ñëåíãîì, ñâÿçàííûì èëè ê ñðîêó "äæèñì" èëè ê äóõàì æàñìèíà, ïîïóëÿðíûì ñðåäè ãîðîäñêèõ ïðîñòèòóòîê, èñïûòûâàþùèõ íåäîñòàòîê âî âíèìàòåëüíîé àóäèòîðèè, ìóçûêàíòû íà÷àëè èãðàòü äëÿ äðóã äðóãà, è èõ äåéñòâèÿ äîñòèãëè ýñòåòè÷åñêîé ñëîæíîñòè, íå î÷åâèäíîé â ðýãòàéìå.  êîðíå äæàçà - áëþç, íàðîäíàÿ ìóçûêà ïðåæíèõ ïîðàáîùåííûõ Àôðèêàíöåâ â ÑØÀ. Þã è èõ ïîòîìêè, òÿæåëî ïîä âëèÿíèåì êóëüòóðíûõ çàïàäíîàôðèêàíñêèõ è ìóçûêàëüíûõ òðàäèöèé, êîòîðûå ðàçâèëèñü êàê ÷åðíûå ìóçûêàíòû, ìèãðèðîâàëè ê ãîðîäàì. Ñîãëàñíî Íàãðàæäåííîìó Àôðî-àìåðèêàíñêîìó êîìïîçèòîðó Ïàëèòçåð è êëàññè÷åñêîìó è äæàçîâîìó âèðòóîçó òðóáû Âèíòîíó Ìàðñàëèñó: Äæàç - êîå-÷òî Íåãðû, èçîáðåòåííûå, è ýòî ñêàçàëî ñàìûå ãëóáîêèå âåùè - íå òîëüêî î íàñ è ñïîñîáå, êîòîðûì ìû ñìîòðèì íà âåùè, íî î òîì, î êàêîì ñîâðåìåííàÿ äåìîêðàòè÷åñêàÿ æèçíü ÿâëÿåòñÿ äåéñòâèòåëüíî. Ýòî - áëàãîðîäñòâî ãîíêè, ïîìåùåííîé â çâóê ..., äæàç èìååò âñå ýëåìåíòû, îò çàï÷àñòè è ïðîíèêàþùèé ê êîìïëåêñó è îêóòûâàíèþ. Ýòî - ñàìàÿ òâåðäàÿ ìóçûêà, ÷òîáû èãðàòü ýòî, ÿ çíàþ î, è ýòî - ñàìîå âûñîêîå èñïîëíåíèå èíäèâèäóàëüíîé ýìîöèè â èñòîðèè Çàïàäíîé ìóçûêè. Ðàíî äæàçîâûå âëèÿíèÿ íàøëè èõ ïåðâîå ãîñïîäñòâóþùåå âûðàæåíèå â ïîëîñå ïîõîäà è ìóçûêå ýñòðàäíîãî îðêåñòðà äíÿ, êîòîðûé áûë ñòàíäàðòíîé ôîðìîé ïîïóëÿðíîé êîíöåðòíîé ìóçûêè â ïîâîðîòå ñòîëåòèÿ. Èíñòðóìåíòû ýòèõ ãðóïï ñòàëè îñíîâíûìè èíñòðóìåíòàìè äæàçà: ðóêîâîäñòâî, òðîñòíèêè, è áàðàáàíû, è âûñêàçàíû â Çàïàäíîì ìàñøòàáå ñ 12 òîíàìè. ×åðíûå ìóçûêàíòû ÷àñòî èñïîëüçîâàëè ìåëîäèþ, ñòðóêòóðó, è áèëèñü èç ìàðøåé êàê ïóíêòû îòïðàâëåíèÿ; íî ãîâîðèò "Ñåâåð Þãîì, îò ×àðëñòîíà äî Ãàðëåìà, " ïðîåêò Íàöèîíàëüíîãî Ñíàáæåíèÿ äëÿ Ãóìàíèòàðíûõ íàóê: ", êîòîðûé ÷åðíûé ìóçûêàëüíûé äóõ (âîâëåêàþùèé ðèòì è ìåëîäèþ) ðàçðûâàë èç ãðàíèö åâðîïåéñêîé ìóçûêàëüíîé òðàäèöèè, äàæå ïðè òîì, ÷òî èñïîëíèòåëè èñïîëüçîâàëè åâðîïåéöà, ðàçðàáàòûâàë èíñòðóìåíòû. Ýòîò Àôðî-àìåðèêàíåö íàùóïûâàåò ìåëîäèè ïåðåôðàçèðîâàíèÿ, è èçìåíåíèå ðèòìà ñîçäàëî ýìáðèîí, îò êîòîðîãî äîëæíû áûëè ïîÿâèòüñÿ ìíîãî áîëüøèõ ÷åðíûõ äæàçîâûõ ìóçûêàíòîâ. Ìíîãî ÷åðíûõ ìóçûêàíòîâ òàêæå çàðàáàòûâàëè íà æèçíü, èãðàÿ â ìàëåíüêèõ ïîëîñàõ, íàíÿòûõ, ÷òîáû âåñòè ïîõîðîííûå ïðîöåññèè â Íîâîîðëåàíñêîé Àôðî-àìåðèêàíñêîé òðàäèöèè. Ýòè Àôðèêàíèçèðîâàííûå ïîëîñû èãðàëè îðèãèíàëüíóþ ðîëü â àðòèêóëÿöèè è ðàñïðîñòðàíåíèè ðàííåãî äæàçà. Ïóòåøåñòâóÿ âñþäó ïî ÷åðíûì ñîîáùåñòâàì íà Ãëóáîêîì Þãå è ê ñåâåðíûì áîëüøèì ãîðîäàì, ýòèì ìóçûêàíòîì ïèîíåðàìè áûëà Ðóêà, ïîìîãàþùàÿ âûëåïëÿòü âîé ìóçûêè, õðèïëûé, òîãäà âîëüíûé, "èçíîøåííûé", äóõ ðýãòàéìà, óñêîðÿÿ ýòî ê áîëåå êðàñíîðå÷èâîìó, ñëîæíûé, âîïëîùåíèþ êîëåáàíèÿ. Äëÿ âñåãî åãî ãåíèÿ, ðàíî èñïîëíèòå äæàç, ñ åãî ñêðîìíûì, íàðîäíûìè êîðíÿìè, áûë ïðîäóêò, ïðåæäå âñåãî ñàìî ïðåïîäàâàâøèõ ìóçûêàíòîâ. Íî âíóøèòåëüíàÿ ïîñëåâîåííàÿ ñåòü ÷åðíî-óñòàíîâëåííûõ è - ó÷ðåæäåíèÿ, êîòîðûìè óïðàâëÿþò, øêîëû, è ãðàæäàíñêèå îáùåñòâà è íà Ñåâåðå è íà Þãå, ïëþñ ðàñøèðåíèå ãîñïîäñòâóþùèõ âîçìîæíîñòåé îáðàçîâàíèÿ, ïðîèçâåëè ïîñòîÿííî óâåëè÷èâàþùèåñÿ ÷èñëà ìîëîäûõ, ôîðìàëüíî îáó÷àë Àôðî-àìåðèêàíñêèõ ìóçûêàíòîâ, íåêîòîðûå èç íèõ îáó÷åííûé â êëàññè÷åñêèõ åâðîïåéñêèõ ìóçûêàëüíûõ ôîðìàõ. Ëîðåíñî. Òèî è Ñêîòò Äæîïëèí áûëè ñðåäè ýòîé íîâîé âîëíû ìóçûêàëüíî ãðàìîòíûõ äæàçîâûõ õóäîæíèêîâ. Äæîïëèí, ñûí ïðåæíåãî ðàáà è ñâîáîäíîðîæä¸ííîé æåíùèíû öâåòà, â çíà÷èòåëüíîé ñòåïåíè ñàìî ïðåïîäàâàëñÿ äî âîçðàñòà 11, êîãäà îí ïîëó÷èë óðîêè â îñíîâíûõ ïðèíöèïàõ òåîðèè ìóçûêè îò êëàññè÷åñêè îáó÷àåìîãî íåìåöêîãî èììèãðàíòà â Òåêñàðêàíå, Òåõàñå. Òàêæå ïîìîùü ýòîé òåíäåíöèè áûëà ñæèìàíèåì çàêîíîâ Äæèìà Êðîó â Øòàòå Ëóèçèàíà â 1890-ûõ, êîòîðûé âûçâàë èçãíàíèå èç èíòåãðèðîâàííûõ ïîëîñ ÷èñåë òàëàíòëèâûõ, ôîðìàëüíî îáó÷àë Àôðî-àìåðèêàíñêèõ ìóçûêàíòîâ. Ñïîñîáíîñòü ýòèõ ìóçûêàëüíî ãðàìîòíûõ, ÷åðíûõ äæàçèñòîâ, ÷òîáû ïåðåìåñòèòü è çàòåì ÷èòàòü, ÷òî áûëî â áîëüøîé ÷àñòè õóäîæåñòâåííàÿ èìïðîâèçàöèîííàÿ ôîðìà, ñòàëà íåîöåíèìûì ýëåìåíòîì â ñîõðàíåíèè è ðàñïðîñòðàíåíèè ìóçûêàëüíûõ íîâøåñòâ, êîòîðûå âçÿëè äîáàâëåííóþ âàæíîñòü â ïðèáëèæàþùóþñÿ ýðó áèã-áåíäà [ðåäàêòèðóéòå] ñöåíó ìóçûêè Ñîåäèíåííûõ Øòàòîâ â íà÷àëå 20-îãî ñòîëåòèÿ íàñòóïëåíèåì íîâîãî âåêà, àìåðèêàíñêîå îáùåñòâî íà÷àëî òåðÿòü âëàñòíóþ, ïóðèòàíñêóþ ôîðìàëüíîñòü, êîòîðàÿ õàðàêòåðèçîâàëà Âèêòîðèàíñêóþ ýðó. Ñèëüíîå âëèÿíèå Àôðî-àìåðèêàíñêèõ òðàäèöèé ìóçûêè óæå áûëî ÷àñòüþ ãîñïîäñòâóþùåé ïîïóëÿðíîé ìóçûêè â Ñîåäèíåííûõ Øòàòàõ â òå÷åíèå íåñêîëüêèõ ïîêîëåíèé, âîçâðàùàÿñü ê ìåëîäèÿì ïîêàçà ìåíåñòðåëÿ 19-îãî ñòîëåòèÿ è ìåëîäèÿì Ñòèâåíà Ôîñòåðà. Îáùåñòâåííûå äàíñèíãè, êëóáû, è êàôå-êîíäèòåðñêèå îòêðûëèñü â ãîðîäàõ. Ëþáîïûòíî íàçâàííûé ÷åðíûìè òàíöàìè, âäîõíîâëåííûìè àôðèêàíñêèìè øàãàìè òàíöà, êàê ðóáàøêà, èíäåéêà íåñåòñÿ, êàíþê ëîïå, öàðàïèíà öûïëåíêà, îáåçüÿíà ñêîëüçèò, è îáúÿòèå êðîëèêà, â êîíå÷íîì ñ÷åòå, áûëî ïðèíÿòî áåëîé ïóáëèêîé. Ïðîãóëêà ïèðîãà, ðàçâèòàÿ ðàáàìè êàê ïàðîäèÿ øàðîâ âå÷åðíåãî êîñòþìà èõ âëàäåëüöåâ, ñòàëà ãíåâîì. Áåëûå çðèòåëè âèäåëè ýòè òàíöû ñíà÷àëà íà ïîêàçàõ âîäåâèëÿ, çàòåì âûïîëíåííûõ áàëåðèíàìè âûñòàâêè â êëóáàõ. Âëèÿíèå Ëóè Àðìñòðîíãà òàêæå ïðîäîëæàëî ðàñòè. Ìóçûêàíòû è ðóêîâîäèòåëè äæàç-îðêåñòðà êàê Òàêñè, Calloway - è, ïîçæå, òðóáà÷ Äèççàé Äæèëëåñïè è âîêàëèñòû Ïîïóëÿðíîñòè êàê Ðåçêèé çâóê, Êðîñáè îõâàòèë ñòèëü Àðìñòðîíãà èìïðîâèçàöèè íà ìåëîäèè, è ÑØÀ, ñóþò ïåâöîâ ðåäêî ñ òåõ ïîð, îòäàëè ìåëîäèþ "ïðÿìî", â ïðåääæàçîâîì ñòèëå.  ïî÷âå Êðîñáè, õóäîæíèêè, çíàìåíèòûå çà èõ âîêàëû, à íå èíñòðóìåíòàëüíûå íàâûêè òàêæå bega ïîÿâëÿòüñÿ êàê áîëüøèå 'äæàçîâûå ïåâöû â ôîðìå âîêàëèñòîâ êàê Ýëëà Ôèòçäæåðàëä, Áèëëè Õîëëèäåé è ïîçæå, Ôðàíê Ñèíàòðà è Ñàðà Âîãàí, âñå èç êîòîðûõ âñêî÷èëè íà ôóðãîí ñ îðêåñòðîì ñêàòà, êîòîðûé ãàëüâàíèçèðîâàë æàíð äî 1950-ûõ. Ðàçâèòèå êîëåáàíèÿ â íà÷àëå 1940-ûõ, èçâåñòíûõ êàê "ñêà÷îê áëþçà" èëè ìóçûêè ñêà÷êà îæèäàëî ðèòì è áëþç è ðîê-í-ðîëë â íåêîòîðîì îòíîøåíèè. Ýòî âîâëåêàëî èñïîëüçîâàíèå èç ìàëåíüêèõ êîìïàíèé âìåñòî áèã-áåíäîâ è êîíöåíòðàöèè íà ìóçûêå íàâåðõ-òåìïà, èñïîëüçóÿ çíàêîìûå ïðîãðåññèè àêêîðäà áëþçà. Òÿíóùèé â çíà÷èòåëüíîé ñòåïåíè ïîñëå ðàçâèòèÿ áóãè-âóãè â 1930-ûõ, ýòî èñïîëüçîâàëî óäâîåííûé ðèòì òî åñòü, êîòîðûé ñåêöèÿ ðèòìà èãðàëà "âîñåìü ê áðóñêó," âîñåìü óäàðîâ â ìåðó âìåñòî ÷åòûðå. Áîëüøîé Äæî Òåðíåð, ïåâåö Êàíçàñ-Ñèòè, êîòîðûé ðàáîòàë â 1930-ûõ ñ ïîëîñàìè Êîëåáàíèÿ êàê ãðàô Áàçè, ñòàë çâåçäîé áóãè-âóãè â 1940-ûõ, è çàòåì â 1950-ûõ áûë îäèí èç ïåðâûõ íîâàòîðîâ ðîê-í-ðîëëà, îñîáåííî ñ åãî ïåñíåé "Òîë÷îê, Ñêðåæåò è Ðóëîí". Äðóãîé äæàçîâûé îñíîâàòåëü ðîê-í-ðîëëà áûë ñàêñîôîíèñòîì Ëóè Äæîðäàíîì. [ðåäàêòèðóéòå] Ðàçâèòèå áèáîïà, ñëåäóþùèé ãëàâíûé ñòèëèñòè÷åñêèé ïîâîðîò âîøåë â 1940-ûå ñ áèáîïîì, âî ãëàâå ñ òàêèìè îòëè÷èòåëüíûìè ñòèëèñòàìè êàê ñàêñîôîíèñò ×àðëè Parker (èçâåñòíûé êàê "Íîâîáðàíåö" èëè "Ïòèöà"), Çàðîäûø Powell è Äèççàé Äæèëëåñïè. Ýòî îòìåòèëî ãëàâíîå èçìåíåíèå äæàçà îò ïîï-ìóçûêè äëÿ òîãî, ÷òîáû òàíöåâàòü ê âûñîêîìó èñêóññòâó, ìóçûêå ìåíåå - äîñòóïíîãî, ìîçãîâîãî "ìóçûêàíòà." Ìîíàõ Thelonious, â òî âðåìÿ êàê ñëèøêîì èíäèâèäóàëüíî, ÷òîáû áûòü ñòðîãî ìóçûêàíòîì áèáîïà, áûë òàêæå ñâÿçàí ñ ýòèì äâèæåíèåì. Ìóçûêàíòû áèáîïà îöåíèëè ñëîæíûå èìïðîâèçàöèè, îñíîâàííûå íà ïðîãðåññèÿõ àêêîðäà, à íå ìåëîäèè. Òðóäíî áèáîï ïåðååçæàë îò ïðîõëàäíîãî äæàçà, âêëþ÷àÿ âëèÿíèÿ îò ìóçûêè äóøè, ìóçûêè åâàíãåëèÿ, è áëþçà. Òâåðäûé áèáîï áûë â ïèêå åãî ïîïóëÿðíîñòè â 1950-ûõ è 1960-ûõ, è áûë ñâÿçàí ñ òàêèìè ôèãóðàìè êàê Ñîííè Ðîëëèíñ, Äæîí Êîëòðýéí, Ìèëè Äýâèñ, Àðò Áëàêåé è ×àðëüç Ìèíãàñ. Ïîçæå, áèáîï è òðóäíî òàíöóåò áèáîï, ìóçûêàíòû, òèïà Ìèëü òðóáà÷à Äýâèñ, ñäåëàëè áîëüøå ñòèëèñòè÷åñêèõ àâàíñîâ ñ ìîäàëüíûì äæàçîì, ãäå ãàðìîíè÷åñêàÿ ñòðóêòóðà ÷àñòåé áûëà íàìíîãî áîëåå ñâîáîäíûé ÷åì ïðåäâàðèòåëüíî, è ÷àñòî òîëüêî ïîäðàçóìåâàëñÿ - ñêåëåòíûìè àêêîðäàìè ôîðòåïüÿíî è áàñîâûìè ÷àñòÿìè. Ìóçûêàíòû òîãäà èìïðîâèçèðîâàëè áû âîêðóã äàííîãî ñïîñîáà ìàñøòàáà. [ðåäàêòèðóéòå] ëàòèíñêóþ äæàçîâóþ ñòàòüþ Main: ëàòèíñêèé äæàçîâûé ëàòèíñêèé äæàç èìååò äâà âàðèàíòà: îòíîñÿùèéñÿ ê òåìíîêîæèì êóáèíöàì è áðàçèëüñêèé. Îòíîñÿùèéñÿ ê òåìíîêîæèì êóáèíöàì äæàç èãðàëñÿ â ÑØÀ íåïîñðåäñòâåííî ïîñëå ïåðèîäà áèáîïà, â òî âðåìÿ êàê áðàçèëüñêèé äæàç ñòàë áîëåå ïîïóëÿðíûì â 1960-ûõ è 1970-ûõ. Îòíîñÿùèéñÿ ê òåìíîêîæèì êóáèíöàì äæàç íà÷àëñÿ êàê äâèæåíèå ïîñëå ñìåðòè ×àðëè Ïàðêåðà. Èçâåñòíûå ìóçûêàíòû áèáîïà, òèïà Äèççàé Äæèëëåñïè è Áèëëè Òýéëîðà íà÷àëè îòíîñÿùèåñÿ ê òåìíîêîæèì êóáèíöàì ïîëîñû òîãäà. Ðàáîòà Äæèëëåñïè áûëà ãëàâíûì îáðàçîì ñ áèã-áåíäàìè ýòîãî æàíðà.  òî âðåìÿ êàê ìóçûêà áûëà ïîä âëèÿíèåì òàêîãî êóáèíöà è ìóçûêàíòîâ Ïóýðòî-ðèêàíöà êàê Òèòî Ïóåíòå è, íàìíîãî ïîçæå, Àðòóðî Ñàíäîâàëü, áûëî ìíîãî àìåðèêàíöåâ, êîòîðûå äîãîíÿëè êóáèíñêèå ðèòìû äëÿ èõ ðàáîòû. Áðàçèëüñêèé äæàç, â Ñåâåðíîé Àìåðèêå ïî êðàéíåé ìåðå, ïî÷òè ñèíîíèìè÷åí ñ áîññàíîâîé, áðàçèëüñêèé ïîïóëÿðíûé ñòèëü, êîòîðûé ïîëó÷åí èç ñàìáû ñ âëèÿíèÿìè îò äæàçà òàê æå êàê äðóãîãî 20-îãî ñòîëåòèÿ êëàññè÷åñêàÿ è ïîïóëÿðíàÿ ìóçûêà. Bossa âîîáùå ìåäëåíåí, èãðàë ïðèáëèçèòåëüíî 80 óäàðîâ â ìèíóòó èëè îêîëî ýòîãî. Ìóçûêà èñïîëüçóåò ïðÿìûå âîñüìûå, âìåñòî òîãî, ÷òîáû êà÷àòü âîñüìûå, è òàêæå èñïîëüçóåò òðóäíûå ìíîãîðèòìû. Ñàìûå èçâåñòíûå ñîñòàâû áîññàíîâû ïîëàãàâøèé áûòü äæàçîâûìè ñòàíäàðòàìè â èõ ñîáñòâåííîì ïðàâå. Ñâÿçàííàÿ äæàçîâàÿ ñàìáà ñðîêà ïî ñóùåñòâó îïèñûâàåò àäàïòàöèþ ñîñòàâîâ áîññàíîâû ê äæàçîâîé èäèîìå àìåðèêàíñêèìè èñïîëíèòåëÿìè, òèïà Ñòýíà Äæåòçà è ×àðëè Áèðäà, è îáû÷íî èãðàåìûé ïðè 120 óäàðàõ â ìèíóòó èëè áûñòðåå. Ñàìà ñàìáà - ôàêòè÷åñêè íå äæàç, íî, áóäó÷è ïîëó÷åííûì èç ñòàðøåé àôðî-áðàçèëüñêîé ìóçûêè, ýòî ðàçäåëÿåò íåêîòîðûå îáùèå îñîáåííîñòè. [ðåäàêòèðóéòå] Ñâîáîäíóþ äæàçîâóþ ñòàòüþ Main: Ñâîáîäíûé äæàç Ñâîáîäíûé äæàç, èëè àâàíãàðäèñòñêèé äæàç, ÿâëÿþòñÿ ïîäæàíðîì, êîòîðûé, â òî âðåìÿ êàê âíåäðåíî â áèáîïå, òèïè÷íî èñïîëüçóåò ìåíüøå êîìïîçèöèîííîãî ìàòåðèàëà è ïîçâîëÿåò èñïîëíèòåëÿì áîëüøå øèðîòû â òîì, ÷òî îíè õîòÿò èãðàòü. Ñàìûé áîëüøîé îòúåçä ñâîáîäíîãî äæàçà îò äðóãèõ ñòèëåé íàõîäèòñÿ â èñïîëüçîâàíèè ãàðìîíèè è ïîñòîÿííîãî êëèåíòà, êà÷àÿ òåìï: Îáà ÷àñòî ïîäðàçóìåâàþòñÿ, èñïîëüçóþòñÿ ñâîáîäíî, èëè îñòàâëÿþòñÿ â öåëîì. Ýòè ïîäõîäû áûëè äîâîëüíî ñïîðíû êîãäà ñíà÷àëà ïðîäâèíóòî,íî âîîáùå íàõîäèëè ïðèíÿòèå - õîòÿ èíîãäà íåîõîòíî - è èñïîëüçîâàëèñü ÷àñòè÷íî äðóãèìè äæàçîâûìè èñïîëíèòåëÿìè. Áûëè áîëåå ðàííèå ïðåöåäåíòû, íî ñâîáîäíûé äæàç, êðèñòàëëèçîâàííûé â êîíöå 1950-ûõ, îñîáåííî ÷åðåç Îðíåòò Êîëåìàíà è Ñåñèëà Òýéëîðà, è âåðîÿòíî íàøëè åãî ñàìîå áîëüøîå ïîäâåðãàíèå â êîíöå 1960-ûõ ñ Äæîíîì Êîëòðýéíîì, Àð÷è Øåïïîì, Àëüáåðòîì Ýéëåðîì, Ðà Ñîëíöà, Ôàðîàîì Ñàíäåðñîì, Ñýìîì Ðèâåðñîì, Ëåðîåì Äæåíêèíñîì, Äîíîì Ïóëüåíîì è äðóãèìè.  òî âðåìÿ êàê âîçìîæíî ìåíåå ïîïóëÿðíûé ÷åì äðóãèå ñòèëè, ñâîáîäíûé äæàç ïðîÿâèë âëèÿíèå ê ïîäàðêó. Ïèòåð Áðîòçìàíí, Ìàéêë Øóëç, Êåí, Vandermark, Óèëüÿì Ïàðêåð, Äåðåê Áýéëåé è Ýâàí Ïàðêåð âåäóò ñâîáîäíîãî ñîâðåìåííèêà, ïîäáàäðèâàåò ìóçûêàíòîâ, è ìóçûêàíòû, òèïà Coleman, Òýéëîðà è Sanders ïðîäîëæàþò èãðàòü â ýòîì ñòèëå. Êèò Äæàððåòò áûë âèäåí â çàùèòå ñâîáîäíîãî äæàçà îò êðèòèêè òðàäèöèîíàëèñòàìè â ïîñëåäíèå ãîäû. [ðåäàêòèðîâàòü] Äæàç è ðîê-ìóçûêà: äæàçîâàÿ ñòàòüÿ Main ñïëàâà: Äæàçîâîå Âàðåâî Ñóê ñïëàâà ÷àñòî öèòèðóåòñÿ êàê ñàìûé âëèÿòåëüíûé îò÷åò â èñòîðèè äæàçîâîãî ñïëàâà. Ñ ðîñòîì ðîê-í-ðîëëà â 1960-ûõ, ïðèáûë ãèáðèäíûé ñïëàâ äæàç-ðîêà ôîðìû, ñíîâà âîâëåêàÿ Ìèëè Äýâèñ, êîòîðûé ñäåëàë çàïèñü àëüáîìîâ ñïëàâà Òèõèì Ñïîñîáîì è Âàðåâîì Ñóê â 1968 è 1969 ñîîòâåòñòâåííî. Äæàç íå áûë ê ýòîìó âðåìåíè áîëüøå ñòàäèåé öåíòðà â ïîïóëÿðíîé ìóçûêå, íî âñå åùå íàðóøàë íîâîå îñíîâàíèå è îáúåäèíÿëñÿ è ïîâòîðíî îáúåäèíÿëñÿ â ðàçëè÷íûõ ôîðìàõ. Èçâåñòíûå õóäîæíèêè 1960-ûõ è äæàçà 1970-ûõ è ñöåíû ñïëàâà âêëþ÷àþò: ×èê Êîðåà, Ýðáè Õàíêîê è åãî ïîëîñà Îõîòíèêîâ çà ãîëîâàìè, Äæîí Ìàêëîãëèí è Îðêåñòð Mahavishnu, Àë Äè Ìåîëà, Æàí-Luc Ponty, Ðà Ñîëíöà, Ìÿãêàÿ Ìàøèíà, Íàðàäà Ìàéêë Âîëäåí (êòî ïîçæå íàñëàæäàëñÿ áû îãðîìíûì óñïåõîì êàê ïðîèçâîäèòåëü ìóçûêè), Wayne Êîðî÷å, Jaco Pastorius, Ãðóïïà è Ïîãîäíîå Ñîîáùåíèå Ïàòà Ìåòýíè. Íåêîòîðûå èç íèõ ïðîäîëæèëè ðàçâèâàòü æàíð â 2000-ûå. [ðåäàêòèðóéòå] Íåäàâíèå ñîáûòèÿ, Êîòîðûå ñòèëèñòè÷åñêîå ðàçíîîáðàçèå äæàçà íå ïîêàçàëî íèêàêîìó ïðèçíàêó óìåíüøåíèÿ, ïîãëîùàÿ âëèÿíèÿ èç òàêèõ íåñîèçìåðèìûõ èñòî÷íèêîâ êàê ìèðîâàÿ ìóçûêà è avant garde êëàññè÷åñêàÿ ìóçûêà, âêëþ÷àÿ àôðèêàíñêèé ðèòì è òðàäèöèîííóþ ñòðóêòóðó, serialism, è îáøèðíîå èñïîëüçîâàíèå èç õðîìàòè÷åñêîé ãàììû, òàêèìè ìóçûêàíòàìè êàê Îðíåòò Êîëåìàí è Äæîí Çîðí. Íà÷èíàÿñü â 1970-ûõ ñ òàêèõ õóäîæíèêîâ êàê Êèò Äæàððåòò, Ïîë Áëåé, Áèëëè ×àéëäñ, Ãðóïïà Ïàòà Ìåòýíè, ÿíâàðü Garbarek, Ðàëüô Òîóíåð, è Ýáåðàðä Âåáåð, ÿðëûê îò÷åòà Åâðîïåéñêîãî Îáùåãî ðûíêà óñòàíîâèë íîâóþ ýñòåòè÷åñêóþ êàìåðíóþ ìóçûêó, ïîêàçûâàÿ ãëàâíûì îáðàçîì àêóñòè÷åñêèå èíñòðóìåíòû, è âêëþ÷àÿ ýëåìåíòû ìèðîâîé ìóçûêè è íàðîäíîé ìóçûêè. Ýòî èíîãäà óïîìèíàåòñÿ "Åâðîïåéñêèé" èëè "ñêàíäèíàâñêèé" äæàç, íåñìîòðÿ íà íåêîòîðûõ èç âåäóùèõ èãðîêîâ, ÿâëÿþùèõñÿ àìåðèêàíñêèì. Îäíàêî, äæàçîâîå ñîîáùåñòâî ñæàëîñü äðàìàòè÷íî è ðàñêîëîëîñü, ñ ãëàâíûì îáðàçîì ñòàðøåé àóäèòîðèåé, ñîõðàíÿþùåé èíòåðåñ â òðàäèöèîííîì è "ïðÿìî âïåðåä" ïîäáàäðèâàåò ñòèëè, ìàëåíüêîå ÿäðî ïðàêòèêîâ è áîëåëüùèêîâ, çàèíòåðåñîâàííûõ î÷åíü ýêñïåðèìåíòàëüíûì ñîâðåìåííûì äæàçîì, è ïîñòîÿííî èçìåíÿþùåéñÿ ãðóïïîé ìóçûêàíòîâ, ïëàâÿùèõ äæàçîâûå èäèîìû ñ ñîâðåìåííûìè æàíðàìè ïîïóëÿðíîé ìóçûêè. Ïîñëåäíèé ñôîðìèðîâàëè òàêèå ñòèëè êàê êèñëîòíûé äæàç, êîòîðûé ñîäåðæèò ýëåìåíòû äèñêîòåêè 1970-ûõ, êèñëîòíîå êîëåáàíèå, êîòîðîå êîìáèíèðóåò çâóêè áèã-áåíäà ñòèëÿ 1940-ûõ ñ áîëåå áûñòðûìè, áîëåå àãðåññèâíûìè ðîê-âëèÿâøèìè áàðàáàíàìè è ýëåêòðè÷åñêîé ãèòàðîé, è äæàçîì íþ, êîòîðûé êîìáèíèðóåò ýëåìåíòû äæàçà è ñîâðåìåííûõ ôîðì ýëåêòðîííîé ìóçûêè òàíöà. Îáðàçöû "êèñëîòû ïîäáàäðèâàþò" ñòèëü, êîòîðûé áûë ïåðâîíà÷àëüíî îñíîâàí â Âåëèêîáðèòàíèè, âêëþ÷àë Ñîâåðøåííî íîâûé Heavies, Êâàðòåò Äæåéìñà Òýéëîðà, Ìîëîäûå Ó÷åíèêè, è Âåëüâåò.  Ñîåäèíåííûõ Øòàòàõ, êèñëîòíûå äæàçîâûå ãðóïïû âêëþ÷àëè Êîëëåêòèâíîå Óãëóáëåíèå, Soulive, è Solsonics.  áîëüøåì êîëè÷åñòâå ïîïóëÿðíîñòè èëè ãëàäêîãî äæàçîâîãî êîíòåêñòà, äæàç îáëàäàë âñïëåñêîì â 1980-ûõ ñ òàêèìè ïîëîñàìè, êàê Pigbag è Ëþáîïûòñòâî Óáèëè Êîòà, äîñòèãàþùåãî õèòîâ äèàãðàììû â Âåëèêîáðèòàíèè. Sade Adu ñòàë êàòåãîðè÷åñêèì ãîëîñîì ãëàäêîãî äæàçà.  1980-ûõ è 1990-ûõ áûëè äðóãèå ñîáûòèÿ ýòî ìåíåå êîììåð÷åñêè îðèåíòèðîâàëîñü. Ìíîãèå èç ýòèõ õóäîæíèêîâ, îñîáåííî Wynton Marsalis, íàçâàííûé, ÷òî îíè äåëàëè äæàç è ôàêòè÷åñêè ñòðåìèëèñü îïðåäåëèòü òî, ÷òî ôàêòè÷åñêè îçíà÷àë ñðîê. Îíè ñòðåìèëèñü ñîçäàòü â ïðåäåëàõ òîãî, ÷òî îíè ÷óâñòâîâàëè, áûëà òðàäèöèÿ, ñîçäàâàÿ ðàñøèðåíèÿ ìàëåíüêèõ è áîëüøèõ ôîðì, ïåðâîíà÷àëüíî âåäîìûõ òàêèìè õóäîæíèêàìè êàê Ëóè Àðìñòðîíã è Äüþê Ýëëèíãòîí.  ñëó÷àå Marsalis ïðèâåòñòâóþò ýòè óñèëèÿ, âñòðå÷åííûå ñ êðèòè÷åñêèì. Ìóçûêàíòû äðóãèõ â ýòîì ïåðèîäå âðåìåíè - õîòÿ ÿñíî â ïðåäåëàõ òðàäèöèè áîëüøèõ íåïîñðåäñòâåííûõ êîìïîçèòîðîâ, òèïà ×àðëè Ïàðêåðà, Äæîíà Êîëòðýéíà, Æèðû Navarro è ìíîãèå äðóãèå - õîòÿò äèñòàíöèðîâàòüñÿ îò ñðîêà, ïîäáàäðèâàþò è ïðîñòî îïðåäåëÿþò òî, ÷òî îíè äåëàëè êàê ìóçûêà (ýòîìó ôàêòè÷åñêè ïðåäëàãàë áîëüøîé êîìïîçèòîð Äüþê Ýëëèíãòîí, êîãäà ñðîê èñïîëíÿåò äæàç, ñíà÷àëà íà÷àë áûòü ïîïóëÿðíûì). Àëüòåðíàòèâíî îíè ñîçäàëè èõ èìåéòå íàçâàíèÿ äëÿ òîãî, ÷òî îíè äåëàëè (, òèïà Ì. Îñíîâà). Ìíîãèå èç ýòèõ õóäîæíèêîâ ñîãëàøàþòñÿ ñ òâîð÷åñêèì ãèòàðèñòîì Æàíîì-Ïîëîì Áîåðåëëàé, êîòîðûé ÷óâñòâóåò, ÷òî "Âû íå äîëæíû êàòåãîðèçèðîâàòü ñîãëàñíî ñòèëÿì ìóçûêè, Âû äîëæíû êàòåãîðèçèðîâàòü â òåðìèíàõ òâîð÷åñêèõ óðîâíåé". Ýòè ìóçûêàíòû ÷óâñòâóþò, ÷òî ðèòì - êëþ÷ äëÿ äàëüíåéøåãî ïðîäâèæåíèÿ ìóçûêè. Áîåðåëëàé, ïîäîáíûé Ì. Îñíîâû, ïîëàãàåò ÷òî ðèòìè÷íûå íîâøåñòâà Äæåéìñà Áðàóíà è äðóãîãî Ïèîíåðû èñïóãà ìîãóò îáåñïå÷èòü ýôôåêòèâíóþ ðèòìè÷íóþ îñíîâó äëÿ íåïîñðåäñòâåííîãî ñîñòàâà. Îäíàêî, èäåè îòíîñèòåëüíî ýòèõ ìóçûêàíòîâ èäóò äàëåêî âíå ïðîñòîé èãðû ïî óãëóáëåíèþ èñïóãà, ðàñøèðÿÿ ðèòìè÷íûå èäåè â ïóòè, àíàëîãè÷íîì òîìó, ÷òî áûëî ñäåëàíî ñ ãàðìîíèåé â ïðåäûäóùèå ðàçû. Íåêîòîðûå èç ìóçûêàíòîâ, âîâëå÷åííûõ â ïîäõîä ïî èìåíè Ì. Îñíîâû äàæå ðàññìàòðèâàþò ýòî êàê Ðèòìè÷íàÿ Ãàðìîíèÿ. Äðóãèå, êàê Wynton Marsalis, íå ñîãëàñèòåñü ñ ýòîé òî÷êîé çðåíèÿ, ïðåäïî÷èòàÿ âìåñòî ýòîãî ñîõðàíÿòü ðèòìè÷íóþ îñíîâó êîëåáàíèÿ äëÿ òîãî, ÷òîáû ñîçäàòü èõ ìóçûêó. Îäíàêî, âñå ýòè õóäîæíèêè ó÷àñòâóþò â íåïîñðåäñòâåííîì ñîñòàâå è òîëüêî îòëè÷àþòñÿ ïî òâîð÷åñêîìó öåíòðó è ÷òî ìîæíî áûëî áû íàçâàòü àêöåíòîì óãëóáëåíèÿ. Ñ ïîâûøåíèåì ïîïóëÿðíîñòè ðàçëè÷íûõ ôîðì ýëåêòðîííîé ìóçûêè â òå÷åíèå êîíöà 1980-ûõ è 1990-ûõ, íåêîòîðûå äæàçîâûå õóäîæíèêè äåëàëè ïîïûòêó ñïëàâà äæàçà ñ áîëüøå ýêñïåðèìåíòàëüíûõ ñêëîííîñòåé electronica (îñîáåííî IDM è Áàðàáàí è áàñ) ñ ðàçëè÷íûìè ñòåïåíÿìè óñïåõà. Ýòî áûëî ïî-ðàçíîìó äóáëèðîâàíî "áóäóùèé äæàç", "äæàçîâûé äîì" èëè "äæàç íþ". Êîíåö áîëåå ýêñïåðèìåíòàëüíîãî è improvisional ñïåêòðà âêëþ÷àåò îñíîâàííûõ â Ñêàíäèíàâèè õóäîæíèêîâ, òèïà ïèàíèñòà Áàãäæ Âåññåëòîôòà, Íîëè òðóáà÷à Petter Molv? r (êòî îáà íà÷àëè èõ êàðüåðû íà ÿðëûêå îò÷åòà Åâðîïåéñêîãî Îáùåãî ðûíêà), è òðèî Wibutee, âñå èç êîòîðûõ ïîëó÷èëè èõ îòáèâíûå êàê ìóçûêàíòû â èõ ñîáñòâåííîì ïðàâå â áîëåå òðàäèöèîííûõ äæàçîâûõ êðóãàõ. Êèíåìàòîãðàôè÷åñêèé Îðêåñòð èç Âåëèêîáðèòàíèè èëè Æþëèàíà Ëóðî èç Ôðàíöèè òàêæå ïîëó÷èë ïîõâàëó â ýòîé îáëàñòè. Ê áîëüøåìó êîëè÷åñòâó ïîïóëÿðíîñòè èëè ÷èñòîãî êîíöà ìóçûêè òàíöà ñïåêòðà íþ äæàç - òàêèå ñòîðîííèêè êàê Ñ-Æåðìåí è Äæàççàíîâà, êîòîðûå âêëþ÷àþò íåìíîãî æèâîãî äæàçà, èãðàþùåãî ñ áîëüøèì êîëè÷åñòâîì metronomic óäàðîâ äîìà. 2000-ûõ, "äæàç" ïîðàæàë äèàãðàììû ïîïóëÿðíîñòè è ñìåøàííûé ñ ìóçûêîé ñîâðåìåííèêà Åðáàíà ÷åðåç ðàáîòó õóäîæíèêîâ êàê Íîðà Äæîóíñ, Äæèëë Ñêîòò, Äæåéìè Êàëëàì, Erykah Badu, Ýìè Âèíåõàóñ è Äèàíà Êðîë è äæàçîâàÿ çàùèòà èñïîëíèòåëåé, êîòîðûå ÿâëÿþòñÿ òàêæå ïåäàãîãàìè ìóçûêè (, òèïà Ãîëëàíäèè Jools, Êîåðòíåé Ïèí è Ïèòåðîì Ñàéíêîòòè). Íåêîòîðûå èç ýòèõ íîâûõ ñòèëåé ìîãóò áûòü ëåãêèìè íà èìïðîâèçàöèè, êëþ÷åâàÿ îñîáåííîñòü äæàçà. Îäíàêî, èõ èíñòðóìåíòîâêà è ðèòìû ïîäîáíû äðóãîé äæàçîâîé ìóçûêå, è ÿðëûê ïðèäåðæàëñÿ. [ðåäàêòèðóéòå] Èìïðîâèçàöèþ Ðåäæè Óîðêìàí, Pharoah Sanders, è Èäðèñ Ìàõàììàä, c. 1978 Äæàç ÷àñòî òðóäåí îïðåäåëèòü, íî èìïðîâèçàöèÿ - áåññïîðíî êëþ÷åâîé ýëåìåíò ôîðìû. Èìïðîâèçàöèÿ áûëà ñ ðàííèõ âðåìåí ñóùåñòâåííûé ýëåìåíò â àôðèêàíñêîé è Àôðî-àìåðèêàíñêîé ìóçûêå è áëèçêî ñâÿçàíà ñ ðàñïðîñòðàíÿþùèìñÿ èç çàïðîñà è îòâåòà â çàïàäíîàôðèêàíñêîì è Àôðî-àìåðèêàíñêîì êóëüòóðíîì âûðàæåíèè. Òî÷íàÿ ôîðìà èìïðîâèçàöèè èçìåíèëàñü âðåìÿ. Ðàííÿÿ íàðîäíàÿ ìóçûêà áëþçà ÷àñòî áàçèðîâàëñÿ âîêðóã çàïðîñà è îáðàçöà îòâåòà, è èìïðîâèçàöèÿ âûñòóïèò â êà÷åñòâå ôàêòîðà â ëèðèêó, ìåëîäèþ, èëè îáà. ×àñòü ñòèëÿ Äèêñèëåíäà âîâëåêàåò ìóçûêàíòîâ ñìåíÿþùàÿñÿ èãðà ìåëîäèè, â òî âðåìÿ êàê äðóãèå ñîñòàâëÿþò âñòðå÷íûå ëèíèè, ÷òîáû ïîéòè ñ ýòèì. Ê ýðå Êîëåáàíèÿ, áèã-áåíäû èãðàëè òùàòåëüíî óñòðîåííûå íîòû, íî ìóçûêà ÷àñòî áóäåò ïðèçûâàòü, ÷òîáû îäèí ÷ëåí ïîëîñû âñòàë è èãðàë êîðîòêîå, èìïðîâèçèðîâàííîå ñîëî.  áèáîïå, îäíàêî, öåíòð ïåðåìåñòèëñÿ îò óìà äîãîâîðåííîñòè ê óìó èìïðîâèçàöèè ïî ôîðìå; ìóçûêàíòû óäåëèëè ñðàâíèòåëüíî íåáîëüøîå âíèìàíèå ñîñòàâëåííîé ìåëîäèè, èëè "ãîëîâå", êîòîðàÿ èãðàëàñü âíà÷àëå è êîíåö ðàáîòû. Êàê ïðåäâàðèòåëüíî îòìå÷åíî, áîëåå ïîçäíèå ñòèëè äæàçà, òèïà ìîäàëüíîãî äæàçà, îñòàâèëè ñòðîãîå ïîíÿòèå ïðîãðåññèè àêêîðäà, ðàçðåøàÿ èíäèâèäóàëüíûì ìóçûêàíòàì èìïðîâèçèðîâàòü áîëüøå ñâîáîäíî â ïðåäåëàõ êîíòåêñòà äàííîãî ìàñøòàáà èëè ñïîñîáà. Ñàìûé èçâåñòíûé ïðèìåð ýòîãî - êëàññè÷åñêèå Ìèëè àëüáîì Äýâèñà, Îò÷àñòè Ñèíèé. Êîãäà ïèàíèñò èëè ãèòàðèñò èìïðîâèçèðóþò ñîïðîâîæäåíèå, â òî âðåìÿ êàê ñîëèñò èãðàåò, ýòî íàçûâàþò, àêêîìïàíèðóÿ, èëè vamping (òàêæå ñì. îñòèíàòî). [ðåäàêòèðîâàòü] |
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 07.05.2006 13:12 |
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guukx
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âî #####) çàïèõíóë â ïðîìò, îí åìó è âûäàë *ìîíàõà òåëîóíèñà*)))) | |
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 10.05.2006 18:01 |
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×òî çà ÷óøü, íàõ, åïò. | |
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 24.05.2006 20:35 |
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ïðîõîæèé
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"....äæàç èìååò âñå ýëåìåíòû, îò çàï÷àñòè è ïðîíèêàþùèé ê êîìïëåêñó è îêóòûâàíèþ...." òû ñàì-òî ýòî ÷èòàë??? ÏÐÈÄÓÐÎÊ!!! | |
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 05.06.2006 20:49 |
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Ãèòàðà 
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ó÷èòå ÿçûê íàõ! | |
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Let`s funk`em all!
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Òåìà: Re: Ïåðåâåäèòå
Âðåìÿ: 05.06.2006 21:19 |
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Áûë Çà ðóë¸ì 
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Åñëè áû áûëî íà ðóññêðì íå ÷èòàë áû. ìîãó ñêàçàòü òî÷íî,çäåññü íàïèñàííî ïðî äæàç | |
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TEXAS BABY
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