scholarly journals The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)

2019 ◽  
pp. 171-185
Author(s):  
Н. Ю. Тарасова ◽  
Б. Ю, Москальов
Keyword(s):  
Twentieth Century ◽  
Latin American ◽  
American Music ◽  
Emotional States ◽  
Latin American Music ◽  
Jazz Music ◽  
Harmonic Means ◽  
First Time ◽  
Simple Sequence

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).

Festival of Contemporary Latin American Music

Tempo ◽  
1955 ◽  
pp. 4-5
Author(s):  
Aaron Copland
Keyword(s):  
Latin American ◽  
American Music ◽  
Latin American Music ◽  
American Composers ◽  
Historical Significance ◽  
Orchestral Works ◽  
The Moment ◽  
First Time ◽  
The Town ◽  
Latin American Countries

Caracas, Venezuela, unlike Paris, France, is a newcomer in the field of present day music. Nevertheless it recently succeeded in putting itself on the contemporary musical map—and with a bang. No one, not even Paris, had ever before thought of organising a festival of orchestral works by contemporary Latin American composers. This happened for the first time anywhere in Caracas, which is full of vitality at the moment, thanks to an oil-engendered prosperity. The town boasts of a good orchestra, a brand new open-air amphitheatre seating six thousand people, and a lively cultural organisation, the Institución José Angel Lamas, headed by Dr. Inocente Palacios. This musically minded enthusiast is the kind of Maecenas composers dream about. By enlisting the aid of the Venezuelan government and other private sources he managed to put on an event that will have historical significance in the annals of Ibero-American music. Within the space of two and a half weeks forty symphonic compositions originating in seven Latin American countries were performed in a series of eight concerts. This was a major effort for all concerned, especially for the courageous musicians of the Orquesta Sinfonica Venezuela and the Festival's principal conductors: Heitor Villa Lobos, Carlos Chávez, Juan José Castro, and Rios Reyna.

scholarly journals From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics

2002 ◽  
Vol 55 (2) ◽  
pp. 311-336 ◽  
Author(s):  
Peter Manuel
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Latin American ◽  
Folk Music ◽  
American Music ◽  
Caribbean Basin ◽  
Latin American Music ◽  
Music Genres ◽  
Hispanic Caribbean

Abstract This essay explores the sense of dual tonicity evident in a set of interrelated Spanish and Latin American music genres. These genres include seventeenth-century Spanish keyboard and vihuela fandangos, and diverse folk genres of the Hispanic Caribbean Basin, including the Venezuelan galerón and the Cuban punto, zapateo, and guajira. Songs in these genres oscillate between apparent “tonic” and “dominant” chords, yet conclude on the latter chord and bear internal features that render such terminology inapplicable. Rather, such ostinatos should be understood as oscillating in a pendular fashion between two tonal centers of relatively equal stability. The ambiguous tonicity is related to the Moorish-influenced modal harmony of flamenco and Andalusian folk music; it can also be seen to have informed the modern Cuban son and the music of twentieth-century Cuban composer Amadeo Roldán.

The Second Birth of Latin Jazz

Latin Jazz ◽  
2020 ◽  
pp. 64-89
Author(s):  
Christopher Washburne
Keyword(s):  
New York ◽  
Latin American ◽  
Driving Forces ◽  
American Music ◽  
Historical Narratives ◽  
Latin American Music ◽  
Popular Music Industry ◽  
Jazz Performance

This chapter examines “The Peanut Vendor” as a case study and a lens into the New York City of the 1930s. The role of the popular music industry in promoting “exotica” and “otherness” and how these practices established Cuban music and musicians as the domineering influence in mid-century Latin and jazz mixings are documented. The role of interculturality in 1930s New York jazz is explored, challenging the traditional tropes found in historical narratives that posit jazz as a purely African American or North American music. A closer look at the contextual factors that led to these exchanges calls for a rethinking of jazz as a transnational and global music. This chapter exposes the interracial, interethnic, international, and intercultural complexities and processes that undergird jazz performance practice and that serve as the primary driving forces in the evolution of the music. What becomes clear is that Caribbean and Latin American music and musicians have played significant roles in ways yet to be fully documented and understood.

Caribbean and Latin American Reverberations and the First Birth of Latin Jazz

Latin Jazz ◽  
2020 ◽  
pp. 36-63
Author(s):  
Christopher Washburne
Keyword(s):  
Twentieth Century ◽  
New Orleans ◽  
Social History ◽  
Latin American ◽  
Political Development ◽  
Formative Period ◽  
Latin American Music ◽  
The Social ◽  
History Of ◽  
Latin Jazz

This chapter documents the strong ties of the Caribbean and Latin America to the formative period of jazz and how that influence reverberated throughout the twentieth century. It argues that the strong foundational influence of Caribbean and Latin American music on pre-jazz styles makes the birth of jazz synchronous with the birth of Latin jazz. By building on the work of a number of scholars who have recently begun to tackle this complexity through historical studies of immigration patterns and the social and political development of New Orleans throughout the 1700s and 1800s and by conducting a “sonic archeology” of jazz styles throughout the twentieth century, reverberations of jazz’s pre-history are uncovered and shown to resound loudly. Along with a discussion of the social history of New Orleans, the focus is on the function of certain rhythmic cells in the jazz repertoire that are most typically associated with Caribbean and Latin American styles.

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