scholarly journals THE IMPORTANCE OF 1959-1967 PERIOD IN JAZZ HISTORY

2021 ◽  
Vol 10 (86) ◽  
Keyword(s):  
First Century ◽  
Free Jazz ◽  
Third Stream ◽  
Avant Garde ◽  
Jazz Music ◽  
Jazz History ◽  
History Of ◽  
Hard Bop ◽  
The 1950S ◽  
Musical Understanding

The focus of this study is on the history of jazz music between 1959 and 1967. The 1950s was a period of intense creativity in jazz, defined by emerging styles such as third stream, cool jazz and hard bop. The end of that decade, 1959, is considered to be a watershed year in which some of jazz’s most influential recordings were made and also effected the free jazz movement, which dominated until 1967, known as the "year that jazz music died". Therefore, 1959 becomes a bridge between the stylistic homogeneity of first half of the century and an outpouring of creativity in the second half. The echoes of the pre-fusion period 1959-1967 are still influential on the musical output of jazz in the twenty first century. This study aims to convey the variety of jazz styles between 1950 and 1967 by looking at the foundational elements that create the musical understanding of these styles by means of a descriptive methodology. Keywords: Jazz, Free Jazz, Hard Bop, 1959, Third Stream, Cool Jazz, Avant-Garde

scholarly journals Jazz Avant-Garde by Cecil Taylor

2020 ◽  
Vol 19 (19) ◽  
pp. 466-481
Author(s):  
Pavlo Holotenko
Keyword(s):  
Main Idea ◽  
Spiritual Values ◽  
Free Jazz ◽  
Modern Culture ◽  
Avant Garde ◽  
Jazz Music ◽  
The World ◽  
History Of ◽  
Research Findings ◽  
The Difference

The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.

Free Jazz

2018 ◽  
Author(s):  
Daniel McClure
Keyword(s):  
New Orleans ◽  
Classical Music ◽  
Chicago School ◽  
Big Band ◽  
Free Jazz ◽  
Third Stream ◽  
Avant Garde ◽  
Musical Tradition ◽  
Hard Bop ◽  
Charlie Parker

Free Jazz emerged in the late 1950s out of the ongoing negotiation of the American jazz tradition. By the mid-twentieth century, this African-American musical tradition had developed into an array of styles variously linked to New Orleans (Dixieland) or Chicago School (1920s), swing (1930s), and bebop (1940s). If swing embodied an industrialized modern evolution of New Orleans-style jazz (deemed traditional), bebop brought the modernist ethos to jazz by attacking what some critics suggested swing was becoming: too popular, too banal and uniform. Consequently, bebop—through innovators such as Dizzy Gillespie and Charlie Parker—disrupted the unifying structures of big band swing while complicating the musical elements of rhythm, harmony, and melody. The contours of bebop’s own progeny—the styles associated with hard bop, cool jazz, and Third Stream—gave form to free jazz. The primary innovators of Free Jazz all came from the cutting edge of 1950s hard bop and sometimes rhythm and blues, but were also influenced by the modernist, avant-garde strains in classical music in the 1940s and 1950s (which also found expression in the musical arrangements in Third Stream and cool jazz). Free jazz musicians attempted to break from the confines of Western musical tenets, European tonal harmonic theory, and the dominance of the composer—the notated score that characterized jazz compositions through bebop—while renewing the collective improvisation of New Orleans-style jazz through spontaneous interaction within a group. Free jazz musicians placed a renewed emphasis on spontaneously improvised melodies and unfixed rhythms.

S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"

2020 ◽  
Vol 1 (2) ◽  
pp. 140-145
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Art History ◽  
Xxth Century ◽  
Avant Garde ◽  
Great Demand ◽  
Video Recordings ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
Vocal Art

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

9/11 as Avant-Garde Art?

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1820-1829 ◽  
Author(s):  
Richard Schechner
Keyword(s):  
Performance Art ◽  
Small Extent ◽  
First Century ◽  
Political Systems ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Social Morality ◽  
Avant Garde ◽  
Single Moment ◽  
History Of

[The attacks of 9/11 were] the greatest work of art imaginable for the whole cosmos. Minds achieving something in an act that we couldn't even dream of in music, people rehearsing like mad for 10 years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 [sic] people are dispatched to the afterlife, in a single moment. I couldn't do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world. … It's a crime because those involved didn't consent. They didn't come to the “concert.” That's obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.—Karlheinz Stockhausen (“Documentation”)Stockhausen aside, how can anyone call the 9/11 attack on the Twin Towers a work of art? Of what value is such a designation? What does calling the destruction of the Twin Towers a work of art assert about (performance) art, the authenticity of “what really happened,” and social morality during and after the first decade of the twenty-first century? To even begin to address these questions, I need to refer to the history of the avant-garde—because it has been avant-garde artists who for more than a century have called for the violent destruction of existing aesthetic, social, and political systems.

Jazz in America after 1945

2016 ◽  
Author(s):  
John Gennari
Keyword(s):  
African American ◽  
Urban Life ◽  
Cultural Institutions ◽  
Free Jazz ◽  
Third Stream ◽  
Avant Garde ◽  
Acoustic Performance ◽  
Black Arts ◽  
Rock N Roll ◽  
The 1960S

In the post-1945 period, jazz moved rapidly from one major avant-garde revolution (the birth of bebop) to another (the emergence of free jazz) while developing a profusion of subgenres (hard bop, progressive, modal, Third Stream, soul jazz) and a new idiomatic persona (cool or hip) that originated as a form of African American resistance but soon became a signature of transgression and authenticity across the modern arts and culture. Jazz’s long-standing affiliation with African American urban life and culture intensified through its central role in the Black Arts Movement of the 1960s. By the 1970s, jazz, now fully eclipsed in popular culture by rock n’ roll, turned to electric instruments and fractured into a multitude of hyphenated styles (jazz-funk, jazz-rock, fusion, Latin jazz). The move away from acoustic performance and traditional codes of blues and swing musicianship generated a neoclassical reaction in the 1980s that coincided with a mission to establish an orthodox jazz canon and honor the music’s history in elite cultural institutions. Post-1980s jazz has been characterized by tension between tradition and innovation, earnest preservation and intrepid exploration, Americanism and internationalism.

Selective Histories

2016 ◽  
pp. 62-78
Author(s):  
Chirstinn Whyte
Keyword(s):  
First Century ◽  
Mobile Technologies ◽  
Late Nineteenth Century ◽  
Television Industry ◽  
Avant Garde ◽  
Film And Television ◽  
Production Models ◽  
History Of ◽  
Motion Studies ◽  
Magic Lantern

Beginning with the traditions of Chinese shadow-theater and the magic lantern, and progressing through the photographic innovations of late-nineteenth-century motion studies, including the work of Eadweard Muybridge and Etienne-Jules Marey, the moving image established itself and gained nonlinear dance-related freedom in the work of René Clair and Ferdinand Leger. This informed its legacy in the twentieth-century avant-garde film movement and in the works of dance-based filmmakers such as Maya Deren and Shirley Clarke, with particular reference to Deren’s notion of “vertical form” and concept of the term “choreographic” as used within a screen context. Meanwhile, despite the dominance of more narrative-based film and television industry production models, so-called hybrid dance/screen practice arose from twenty-first-century artists such as Katrina McPherson, Alex Reuben, and Lisa May Thomas. The chapter concludes with recent writing on the history of mobile filmmaking by Caridad Botella Lorenzo and the potential future impact of mobile technologies.

The History of Jazz

2021 ◽  
Author(s):  
Ted Gioia
Keyword(s):  
The United States ◽  
Big Band ◽  
Avant Garde ◽  
Thelonious Monk ◽  
John Coltrane ◽  
Jazz Music ◽  
Miles Davis ◽  
Comprehensive Survey ◽  
History Of ◽  
Charlie Parker

The History of Jazz, 3rd edition, is a comprehensive survey of jazz music from its origins until the current day. The book is designed for general readers and students, as well as those with more specialized interest in jazz and music history. It provides detailed biographical information and an overview of the musical contributions of the key innovators in development of jazz, including Louis Armstrong, Duke Ellington, Billie Holiday, Coleman Hawkins, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Ella Fitzgerald, Miles Davis, John Coltrane, Ornette Coleman, and others. The book also traces the evolution of jazz styles and includes in-depth accounts of ragtime, blues, New Orleans jazz, Chicago jazz, swing and big band music, bebop, hard bop, cool jazz, avant-garde, jazz-rock fusion, and other subgenres and developments. The volume also provides a cultural and socioeconomic contextualization of the music, dealing with the broader political and social environment that gave birth to the music and shaped its development—both in the United States and within a global setting.

The Black and White of Newspapers

2017 ◽  
Author(s):  
Gwyneth Mellinger
Keyword(s):  
Civil Rights ◽  
First Century ◽  
Hiring Practices ◽  
Black And White ◽  
Newspaper Editors ◽  
History Of ◽  
The 1950S ◽  
American Society ◽  
Professional Norm

This introductory chapter delves into the history of the American Society of Newspaper Editors (ASNE) and its Goal 2000 initiative in order to examine why ASNE members had hesitated to implement civil rights reforms in their newsroom hiring practices despite passionate advocacy by a series of ASNE leaders and the expenditure of unprecedented industry resources. It traces the ASNE's reckoning with inequality from the 1950s into the twenty-first century by first exploring the ASNE's construction of a professional norm that marginalized journalists and editors who were not white, not male, and not heterosexual; and then traces the organization's subsequent attempts to democratize newsroom hiring.

scholarly journals Krótki wykład o muzyce XX wieku. Kompendium dydaktyczne / A Short Lecture on Twentieth-Century Music. A Teaching Compendium

2014 ◽  
Vol 12 (2) ◽  
Author(s):  
Tomasz Jasiński
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
First Century ◽  
Avant Garde ◽  
Arts And Humanities ◽  
The Arts ◽  
Twentieth Century Music ◽  
History Of ◽  
Recent Trends ◽  
Concrete Music

AbstractThe article is a comprehensive presentation of the history of music in the twentieth century, taking into account the main trends and phenomena of this period, inter alia impressionism, expressionism, neoclassicism, dodecaphony, punctualism, and total serialism, then avant-garde solutions and pluralism after World War Two (inter alia electronic music, concrete music (musique concrète), graphic music, aleatoric music, open forms, instrumental theater, minimal music), and finally the most recent trends (e.g. spectral music, new complexity, polystylistics), including a clearly marked return to the Romantic tradition. The chronologically presented discourse includes opinions that concisely explain some compositional solutions, as well as the list of composers and the titles of their works that exemplifi ed the problems discussed. The paper ends with the thoughts on the future of music in the new, twenty-first century.The article is meant as teaching material for the arts and humanities programs.

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