part 3 the growth of vernacular traditions chapter 14: jazz since 1960 america’s musical landscape...
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Part 3The Growth of Vernacular
TraditionsChapter 14: Jazz Since 1960
America’s Musical Landscape 5th edition
PowerPoint by Myra Lewinter MalamutGeorgian Court University
© 2006 The McGraw-Hill Companies, Inc. All rights reserved
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
2© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Jazz since 1960 Emerging new styles joined without replacing established
jazz trends
The jazz experience increased in complexity and sophistication
Although hardly in popularity
Starting from bebop, jazz has belonged to the classical as well as popular music world
Jazz is “America’s classical music”—Billy Taylor
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz in the 1960s Jazz musicians explored relationships between
classical and popular music
Less emphasis placed on outstanding solo performances accompanied by other players
More emphasis on collective improvisation by several, or even by all, ensemble members at the same time
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Charles Mingus (1922-1979) A double bass player intimately involved with progressive jazz in
the 1950s
As a composer
His new ideas concerning jazz composition made Mingus controversial, yet influential
Explored the complex relationships between jazz composition and improvisation
Encouraged freedom and creativity within a formal framework, disapproving of a written score
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Charles Mingus Made the bass line significantly more interesting and important than
it had been in early or traditional jazz styles
His bass solos sometimes imitated saxophone or piano lines
His “unwritten compositions,” in the tradition of progressive jazz, were rhythmically complex, with changing meters
Flexible rhythmic pulse—often accelerating tempos Calling out instructions to the players
Sometimes modal bass lines required musicians to improvise new kinds of melody lines instead of those based on given tunes
Mingus revolutionized jazz and jazz composition
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Free Jazz Innovations of Charles Mingus and others during the 1950s
encouraged jazz musicians to seek new approaches to improvisation
Improvisation remained at the core of the concept of jazz
Especially influential was Mingus’s idea of collective improvisation = Simultaneous improvisation of some or all members of a combo
1960: The album Free Jazz, by Ornette Coleman, introduced free collective improvisation
Free Jazz defied the perception of jazz as accessible to the ordinary listener
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Free Jazz: Characteristics No familiar chord changes No references to popular songs or blues No steady beat Each musician improvised independently, but aware of others Initial phrases of a piece were played together by soloists yet not
necessarily in unison Released musicians from the strictures of tonality, recurring
rhythmic patterns, fixed pulse, predetermined themes There were short melodic motives—riffs—that could be inserted Free jazz uttered musically the sorts of freedom African Americans
demanded and finally were achieving in many areas of life
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Free Jazz and its Relationship to Non-Western Music Having no chord changes relieved free jazz ensembles of the
need to include piano With its restrictive keyboard limited to the tones of the black and
white keys This freed musicians to explore non-Western scales Musicians were able to include instruments from other cultures
And play Western instruments in nontraditional ways
Ornette Coleman’s free jazz performances used Microtones (lying between the tones of a piano keyboard) Certain rhythmic techniques from the music of India
Heightened emotions and intellectual challenges
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Free Jazz:John Coltrane (1926-1967) Saxophonist, spiritual leader of
free jazz during the last years of his short life His free spirit caused him to change
stylistic preferences throughout his career
Early in his career Known for producing “sheets of
sound” because of playing so many notes at rapid-fire tempos
Example: His 1959 Giant Steps
saxophone
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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John Coltrane Later areas of interest
Modal music, working with Miles Davis The influential album Kind of Blue
Indian music The 1960 album My Favorite Things
As a saxophonist on tenor and soprano saxophone Admired for his beautiful tone and effects Countered Ornette Coleman’s concept of collective
improvisation by playing extremely long individual solos “Chasin’ the Trane” (1961) is the most famous of these
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Listening Example 52A Love Supreme, Part I
“Acknowledgment” (excerpt)By John ColtranePerformed by the John Coltrane Quartet(Coltrane on tenor sax, plus piano, bass, drums)Listening Guide page 237
Meter: An improvised introduction, then quadruple meter that is free and flexible, changing as the piece progresses, with skillful polyrhythms.
After the brief opening passage, bass introduces the four-note main theme, based on the words “a love supreme.”
Produced in 1964, the very spiritual and emotional albumA Love Supreme seems to identify with rebellious youth of the 1960s seeking new culturaland spiritual indentities based onnon-Western traditions. Combining religious ecstasy with tranquility and meditation, thishypnotic mixture of music andchanting became one of the best-selling jazz albums of alltime.
Acknowledgement is the first offour sections, which make up a suite. The other three parts areResolution, Pursuance, andPsalm.
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Third Stream Third stream combines jazz and classical
music in a manner that—unlike the blending of classical and jazz effects in symphonic, cool, and progressive jazz—allows each style to retain its characteristic qualities
John Lewis first attracted attention to this new idea
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Third Stream:John Lewis (1920-2001) Classically trained, this African American pianist was interested in
Renaissance and Baroque European art music
Founded the Modern Jazz Quartet
Wrote jazz pieces for the MJQ using classical forms of earlier periods
Some pieces were performed with the MJQ and symphony orchestra or other classical ensemble
MJQ improvised, while the classical ensemble read and played the notes;
Both ensembles remained true to their traditions
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Third Stream:Gunther Schuller (b. 1925) Introduced the term “third stream”
Believed that jazz and classical music should be treated as separate but congenial entities
In 1957 he referred to Classical music as the “first stream” of music Jazz as the “second stream” Their combination in a manner allowing each to retain its
characteristic qualities as “third stream” music
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Third Stream remained in vogue for only a short time Yet its influence persists
Example: Ornette Coleman’s 1960s piece “Skies of America” for symphony orchestra and solo jazz improvisers
In this piece by Coleman, the conductor chooses between an array of notated inserts to be cued to the orchestra by hand signals
Challenges in Coleman’s piece abound for symphonic players
New York Philharmonic musicians balked in 1997 when Coleman suggested to play notes other than notes he had written
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1970s Prior Decades
It is possible to define a dominant style for each decade
1920s: The jazz age; emotionally intense 1930s: The swing era; soothing big band music 1940s: Reacting to bebop 1950s: Staying cool 1960s: Exploring relationships between jazz and
classical music
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1970s and Prior Decades No one style reigned exclusively at any time
All existed concurrently with other important kinds of jazz
Yet each decade is associated with its own particular approach to jazz
It is possible to discern an alternation between classically cool and romantically emotional music decade by decade
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1970s Several important movements coexisted and influenced later jazz
A comeback of swing, remaining strong today
European chamber music-style combos appealed to many musicians and listeners
Bebop made a powerful and lasting return
Two other movements vied for attention World music Fusion
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1970s: Fusion (Jazz-Rock) Jazz and rock
Came from the same roots (blues, gospel, work songs)
Faced crises as the 1970s began Jazz losing its identity
Foundering somewhere between classical and foreign ethnic musics
Rock, mourning the deaths of some of the greatest stars And struggling to find the means to address the tragic social
and political events of the day
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Fusion (Jazz-Rock) Jazz musicians started incorporating rock
elements into their music in the 1960s
Example: Miles Davis’s 1969 recording Bitches Brew
Davis then produced On the Corner in 1972, including sitar and a shocking rock drumbeat
This was criticized as “antijazz”
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Fusion Defined Jazz-rock = fusion = jazz-rock-fusion
Melds rock rhythms and the use of electronic instruments with Collective improvisation Extreme ranges of volume Rapid shifts in meter, tempo, mood, uncharacteristic of rock Instrumental music—no vocals Bass guitar or electric bass instead of stand-up bass
Allowing for faster playing, and… Altering of sounds with electronic effects
Snare drums and bass drums used as the rhythm section Raising the rhythm section to unprecedented dominance
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Fusion: Mid-1970s Some jazz ensembles used
electronic organs, other keyboards, synthesizers… Electroacoustic instruments =
Sound is mechanically generated, then electronically amplified and altered
The sound engineer as artist and technician… manipulated sounds to
musicians’ best advantage
Synthesizer and Keyboard
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Weather Report: A Fusion Band of the 1970s and 1980s One of the earliest and most influential jazz-rock
groups, active for over fifteen years
Formed by musicians Joe Zawinul and Wayne Shorter, who had worked with Miles Davis
This band stunningly presents the virtuosity and rhythmic complexity associated with jazz-rock fusion
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Fusion: Two Influential Jazz Pianists Herbie Hancock (b. 1940)
Huge success with electronic instruments His album Headhunters (1973)
The first jazz album to be certified gold Remained for a time best-selling of all jazz albums Electric bass, keyboards, synthesizers gave jazz a radical
new sound called funk (see chapter 17)
Chick Corea (b. 1941)—An accomplished pianist Return to Forever was his influential fusion group Corea played a wide variety of electronic keyboard instruments Incorporated Latin American rhythms within his music
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Listening Example 53Stretch It, Part 1By Chick CoreaPerformed by theChick Corea Elektric BandListening guide page 241
Instruments: Piano and synthesizer (Chick Corea), sax, guitar, electric bass, drums
Tempo: FastMeter: Duple—but listen for rhythmic complexities and changing
meters as the piece progresses
This piece is from Correa’salbum Inside Out (1990)
Hear the virtuosity and therhythmic sophistication offusion, which remains a vital jazz style today
Notice the recurring bouncytwo-note motive whichenhances the good humor
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1970s: Integration of Foreign Sounds Fusion implies a bringing together, yet brought serious schisms
within the jazz world, as musicians chose
Between acoustic and electronic instruments
Between flexible free jazz rhythms and a soul- or gospel-influenced steady beat
Among a variety of music from foreign cultures, a concept sparked by John Coltrane
India, Brazil, Arabia, Bali, Japan, China, African cultures
European concert music was also used by some musicians
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Integration of Foreign Sounds in the 1970s: Don Cherry (1936-1995) Worked with Ornette Coleman, John Coltrane; performed and
recorded in Europe and New York during the 1960s
Following extensive travel in Asia and Africa, settled in Sweden Became active there in music education and performance
Calling himself the “world musician,” Cherry played trumpet, as well as ethnic instruments from… Tibet, China, India, Bali, other countries
1978: He formed a trio, Codona, with a Brazilian percussionist and an American sitarist Performed and recorded ethnic musics for children and adults
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1980s A fragmented period of enormous diversity, exploration, discovery
The range of jazz identity was extended, through… New information about other music traditions Sophisticated new technology
World music remained important
Electronic techniques expanded their applications
Often musicians participated in a number of kinds of jazz, establishing no definitive identity in any one
Two fields of interest were characteristic: Crossover jazz, and, a revival of interest in traditional styles
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1980s: Crossover Music Crossover music = The blending of jazz and various other musics
John Lewis’s Modern Jazz Quartet Seen as a black response to the intellectualism of the Dave
Brubeck Quartet And as New York’s answer to West Coast cool jazz
Fusion was another form of crossover Remained strong in the 1980s; not as popular as in the 1970s Herbie Hancock’s album Future Shock (1983) was an example
Included the piece “Rockit” A fusion of jazz, funk, electronics A massive hit, inspired an MTV video
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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1980s Crossover Music:Pat Metheny (b. 1954) A jazz guitarist who remains popular today
Initiated a rock band format Produced albums of melodious jazz-rock
1985: Composed the score for the movie The Falcon and the Snowman Led to his recording “This is Not America”—a Top 40 hit—with
David Bowie
Having explored the musical possibilities of the twelve-string guitar and guitar synthesizer, called the synclavier, Metheny continues to move between pure jazz and pop jazz
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1980s: Traditionalism Some musicians blended jazz, rock, folk, pop, foreign sounds…
Other musicians resisted such combinations and the white European concert sounds of much crossover music
They returned to earlier styles, updated to modern tastes
New Orleans, Chicago, and Dixieland jazz became popular
Bop and so-called post-bop offered traditionalists a structured yet progressive sound—daring but not too new
The return to the traditional was tempered with freely flowing, flexible rhythms and meters indigenous to much music in Africa
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1990s and Beyond The 1990s became the first decade in jazz history to have no
defining movement
Relationships to rock loomed ever more important, as well as soul, funk, world music, and crossover
A new fusion called jazz-rap evolved
Fusion became more complex as musicians explored and expanded styles, techniques, technology Example: British jazz group Us3 released their album
Cantaloop 2004, with “jazz influenced urban sounds leaning heavily o a Latino R&B vibe”
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1990s and Beyond: No Wave or Noise
No wave seeks the emancipation of noise (as per scholar musician John Zorn)
Pieces in this style are extremely brief, very fast, loud
A collage of very short, isolated sound events
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1990s and Beyond: Musicians John Zorn is among an impressive number of
contemporary jazz musicians who are…
Following Duke Ellington’s lead in finding ways to integrate composition and improvisation
Masterful improvisers, interested in putting to their own various uses many or all of the ethnic, technological, traditional, and experimental resources available
Several of these people are scholars
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1990s and BeyondHenry Threadgill (b. 1944) Saxophonist and flutist; toured with gospel musicians, blues bands
1960s: Became associated with the Association for the Advancement of Creative Music (AACM) To help Chicago musicians present their new, commercially
unacceptable music
1970s: Formed the trio Air Explored African music, ragtime, assorted traditional musics
Since 1980: Formed groups with unusual instrumentation Such as the Very Very Circus, which uses…
Trombone, two tubas, two guitars, drums Fuses avant-garde jazz, funk, salsa, European marches
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1990s and Beyond:Anthony Braxton (b. 1945) A former AACM member, Braxton reached a milestone in
jazz history by recording a double album of solo alto saxophone music For Alto, released in 1971 Other alto sax players soon made their own recordings A master improviser
An intellectual composer: Devised systems for composing music, some based on mathematical relationships, diagrams, or formulas as a means of generating improvisation within the framework of an orchestral composition In some pieces, parts can be played by different instruments Some of his compositions can be played together
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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The 1990s and Beyond:Anthony Davis (b. 1951) Sometimes referred to as a crossover musician
Blends jazz and classical styles in his pieces Using Eastern musics
Pianist and improviser Writes out most of his own music
He considers improvisation just one compositional tool
Episteme, his avant-garde jazz ensemble, has been involved in some third stream-style performances with classical performers
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Anthony Davis: Classical Compositions The Life and Times of Malcolm X
Davis’s first opera, and the first of several American operas based on a contemporary political subject
Amistad, 1997, his fourth opera, is a story of a slave uprising on a ship, and the subsequent trial
As a Broadway composer 1993: Composed music for Tony Kushner’s prizewinning
Angels in America
Davis’s symphonic, choral, and chamber works incorporate jazz and classical concepts Such as improvisatory passages, jazz undertones
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Wynton Marsalis (b. 1961) A classicist who believes that bebop is
the foundation of modern jazz
Defends, updates, modernizes early jazz styles in his own compositions
Juilliard-trained trumpet virtuoso with extremely beautiful sound
Educator, composer, and artistic director of jazz at Lincoln Center, New York
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Wynton Marsalis Voiced concern with restoring “respect and seriousness” to
jazz
Believes the future of jazz holds more emphasis on composition than on soloing
Writes music intended to last
Author of Sweet Swing Blues on the Road, 1994
1998 Pulitzer prize winner for music, for his extended composition “Blood on the Fields”
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz Today and Tomorrow The important American music we call jazz continues to evolve
Tradition and innovation inspire today’s jazz musicians and fans
The blues was the subject of a celebration in 2003, declared by Congressional Proclamation, the Year of the Blues
In remembrance of W. C. Handy’s first hearing, in 1903 He played slide guitar with a knife, singing the blues He later published commercial blues; established a
relationship between blues and the music business
Today we recognize the blues as a basic structure, a feeling, an attitude, an exacting discipline—an indefinable and indestructible American music
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz Today and tomorrow: Collectives Important to the jazz business today are the numerous
collectives organized to support jazz musicians From the start, collective organizations have helped musicians
Make a living Create jobs (called gigs) Create new compositions (starting in the 1960s)
The Jazz Composers Collective, founded in 1992, is the most significant collective today
Finds grant money for commissioning compositions and recordings Sponsors concerts Builds audiences for new jazz music
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz Today and Tomorrow: Instrumentation Jazz instrumentation continues to evolve
Musicians explore new technology and world sounds The organ and its evolution in jazz:
1920s: Thomas (Fats) Waller played on a giant pipe organ 1940s and 1950s: Jazz organ trios with electric organ,
guitar, drums, at times tenor sax imitated an orchestra Today: Synthesizers and portable digital organs
Commercial success of the recent sampling of organ-heavy soul jazz recordings from the 1960s has created a new audience for the Hammond (electric) organ
(Wild) Bill Davis—the creator of the modern jazz organ
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz Today and Tomorrow: Performances The arranging impulse largely dropped out of jazz
performance from the 1960s through the 1980s
But thanks to Henry Threadgill and Wynton Marsalis, it is back
The trend is for less emphasis on virtuosic solos
The bandleader controls the ensemble, in a collective endeavor shifting focus from one musician to another
Today’s performances often seem to be more about rhythm and interplay than about solos or even melodies
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz Today and Tomorrow: Conclusion The Turtle Island String Quartet fuses the classical string
quartet with popular contemporary American styles Bluegrass, swing, bebop, funk, rhythm and blues, hip-hop,
salsa, others—plus classical Indian music
As of 2005 innumerable jazz festivals around the nation and worldwide celebrated local and international talent
It has become increasingly unrealistic to confine jazz to narrow definitions
Jazz continues to be a vital feature of the American musical landscape
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Part 3 Summary The form of Sousa’s marches—a series of melodic strains—
was also the form of ragtime, which was A written piano music combining black rhythmic effects with
European harmony and form Syncopated melodies in the right hand accompanied by a
simple duple left hand pattern
By World War I, rags were published by Tin Pan Alley Many Tin Pan Alley songs had the spirit of ragtime
The great popular songwriters wrote for Tin Pan Alley and for Broadway musicals
Irving Berlin, Cole Porter, George Gershwin
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Part 3 Summary: Country Music Rooted in rural and mountain folk traditions
Jimmie Rodgers popularized hillbilly songs
The Original Carter Family brought mountain music to the city
Recordings, radio shows spread this music
Country musicians absorbed many influences as they moved to different states; soon new styles evolved. In Texas, Western swing and honky-tonk was popular. Cowboy songs from films joined the hillbilly repertoire to produce country-western music.Except for bluegrass, country music consists primarily of songs.
Roping a Maverickpainted by Olaf C. Seltzer (1877-1957)
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Part 3 Summary: Jazz Black musicians combined…
Forms, harmonies, timbres of white popular musics with… Creole, Caribbean, black African rhythmic and melodic
techniques This hot new music for dancing was called jazz
Blues was An early manifestation of jazz
Blues began as black folk song style, and evolved to… A sophisticated, influential form of popular music
Boogie-woogie transferred the form and harmonic structure of blues to the piano
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz New Orleans nurtured the first important black combos
Soloists improvised on a given tune Combo members backed them up
In Chicago later, white Dixieland bands imitated New Orleans jazz sound
White and black teens and young adults danced to early jazz White middle-age people preferred sweet and symphonic jazz
during the turbulent Depression years Not true jazz, these genres introduced the art of the
arranger They paved the way for the 1930s swing bands
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz in the 1930s and 1940s Mid-1930s
Jazz reached its peak of popularity, for about a decade Big bands played arrangements of blues and pop tunes
Harmonies more adventurous, pieces more structured than earlier jazz
Charlie Parker and Dizzy Gillespie rebelled against the commercialism and popularity of big band swing
Established bebop, a music for listening—not dancing Bebop ushered in the age of modern jazz
1940s Singers replaced big bands in popularity
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Jazz Since 1950 Jazz musicians have formed alliances with the world of concert
music, producing… Symphonic works with jazzy flavors Jazz pieces in classical forms Third stream pieces in which jazz and classical music meet
Influential musicians in concert jazz… Duke Ellington, Dave Brubeck, Charles Mingus
Additional modern jazz types include… Progressive jazz, cool jazz, free jazz, fusion
Jazz composition is now among the most important fields of American music
Part 3: The Growth of Vernacular Traditions Chapter 14: Jazz since 1960
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Image Credits Slide 9: Saxophone © Getty Images Slide 22: Music Synthesizer and Keyboard
Royalty-Free/Corbis Slide 39: Wynton Marsalis
© AP/ Wide World Photo Slide 47: “Roping a Maverick,” painting by
Olaf C. Seltzer © Corel