The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmonious, accord-tonal, form-forming means of expressiveness of jazz and music of the twentieth century. Conclusions. The interaction of the jazz language with the academic tradition essentially influenced the renovations of the genre in the suites „1922ˮ by P. Hyndemith and „Suite Sentimentsˮ by Y. Chugunov. Jazz influence has contributed to: 1) individualization of the musical decision of the suite, increase of unique expressiveness (skepticism about dance in Hindemith, rich and dynamic palette of lyrical feelings, with contrast of contemplation and mobility in Chugunov); 2) release of the genre character and structure of the cycle from Baroque-classical genre-structural normativity (in the first work, the dance genres of music of the twentieth century, in the second – different emotional states, become decisive); 3) combining the form of a suite cycle (not a simple sequence of plays based on theestablished tempo principle, but a plastic improvisational transition, with the loss of the boundaries of the parts) (in „Suite of Sentiments” by Chugunov), with a through metro rhythm and internal unification with ironic author overtones expressed by harmonic, textured and rhythmic means (in the Suite „1922ˮ by Hindemith); 4) the formative role of rhythm formulas of jazz music (emphasizing weak parts, syncopation, rhythmic brokenness of melody, triple rhythm formulas and unstable formulas with small rhythmic meters), typical jazz performing techniques (fermat, „hangs”, discontinued melodies) and Latin American music of harmonic means (movement by parallel chords, active use of trio sounds, seventh chords, non-chords with alterations), jazz features of intonation (false fingering); 5) application of compositional features of ragtime, swing (cadences, improvisations, repetitions).
A Focus on the Functions of Area 25
