The creativity of local accordionists in the context of pop-jazz performance at the turn of the XX - XXI centuries

The purpose of the article. To highlight the peculiarities of the functioning of pop-jazz music in the bayan-accordion art of Ukraine in a certain period. The methodology is based on the basic principles of the theory of knowledge, such as objectivity, scientific character, historicism, integrity, interconnection, and interdependence of phenomena and processes of reality, as well as conceptual provisions of the theory of professional skills. The scientific novelty lies in the coverage of the creative activity of local button accordion players and the systematization of the stages of development and creative achievements of the academic school of the specified period. Conclusions. Pop-jazz music in the context of performing creativity of local and foreign bayan accordionists has a consistent character and develops on the musical basis of Negro folklore, urban culture (genres of everyday dance music - waltzes, polkas, tango, foxtrots, etc.), professional music - improvisations, concert transcriptions, retro suites for jazz themes, jazz-style suites, jazz-rock-partitas). The main factors that influenced the dynamics of the development of pop-jazz music in the bayan-accordion art of Ukraine and abroad were various artistic processes that took place during the period under study, determined by the evolution of quality indicators. Keywords: button accordion (accordion), accompanying instrument, solo performance, jazz compositions, composer technique, academization. .

Influence of jazz and musical forms on pop and song culture

The purpose of the article is to identify the main trends in the influence of jazz and music forms on pop culture. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical, and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty of the work is to generalize the problems of interaction and influence of jazz features of vocals on the development of pop vocals, expanding knowledge about the development of pop and song culture in general. Conclusions. The formation of pop singing is inextricably linked with the widespread of music halls, variety shows, cabaret, pop theaters, and more. By the end of the twentieth century, the media, the Internet, and screen culture led to the spread of pop vocals on a new level and pop singing became an integral part of everyday life. All these aspects and features of the jazz genre-style system had an indirect impact on the work of composers who turned to songwriting in the pop sphere, considered jazz as a mediator between "serious" and light musical forms while giving jazz techniques creative and methodological potential. Understanding the music culture of specific pop-jazz types (genres) of modern music influences the understanding of pop, pop vocals, and pop-jazz music as a phenomenon of art. Keywords: jazz musical forms, pop vocals, pop-song culture.

«Lemma»: Jay Wright’s Idiorrhythmic American Theater

This essay presents Jay Wright’s play Lemma as a historiographical challenge and also as a piece of idiorrhythmic American theater. Consonant with his life’s work of poetry, dramatic literature, and philosophical writing, Lemma showcases Wright’s expansive intellectual framework with which he constructs vivid, dynamic, and complex visions of American life. The “America” conjured here is steeped in many traditions, traditions typically kept distinct by academic discourse, such as West African cosmology, Enlightenment philosophy, jazz music theory, Ancient Greek theater, neo-Baroque modifications of Christian theology, pre-Columbian indigenous ways of knowing, etymological connections between Spanish and Gaelic, the materiality of John Donne’s poetry, and the lives of enslaved Africans in the New World. What is the purpose of Wright’s theatrical conjuration? How do we approach a text with such a diverse body of intellectual and literary sources? The author answers these questions and ends with a call to treat Lemma as a much needed point of view that opens lines of sight into Black and American theater far outside the well-worn territory of the Black Arts Movement.

Creativity in Jazz

<p>Common discourses around jazz generally acknowledge the centrality of creativity to the music, but scholarship on what precisely creativity is in jazz, and how it might best be enhanced is not well developed. Building on the important work in this area begun by scholars such as Ed Sarath and R. Keith Sawyer, I first investigate the extensive scholarly literature on creativity, drawing predominantly from social science and education contexts, and then apply some of the most relevant frameworks to jazz. These frameworks draw several key aspects of jazz practice into sharp relief, in particular the respective roles of individuals and ensembles and the ways they work in common, and the provenance of musical materials in creative jazz practice. With these key ideas acting as a theoretical lens, I view the historical practice of three unquestionably creative jazz musicians: Ornette Coleman, Miles Davis and Duke Ellington. The choice of these musicians in particular is important because their example, when understood through the lens of creativity, in part authenticates some of the traditional tools by which we investigate jazz, historically, while at the same time pointing towards some different, less commonly discussed attributes. Most important, the creativity lens reveals important ways in which creative practice can be attributable to understandable procedures that are available to all accomplished musicians, not just a few “great men”. Thus my conclusions call into question more traditional modes of jazz history and criticism which, while acknowledging the music’s collective nature, tend to emphasise the roles of individuals as primary in jazz. Instead, my research suggests that creativity is best achieved in group contexts where diversely gifted participants work collaboratively in egalitarian, interactive, improvised settings. Individuals do make significant contributions to this mix, and in terms of creative advances in jazz – and in terms of achieving meaningful self-expression – the most important quality individual musicians can pursue is the development and expression of unique musical voices. In addition to improvised interactivity among unique individual voices, the adoption of musical materials from outside of jazz and their transformations (along with similar transformations of musical materials already common currency among jazz musicians) can be shown to serve both the expressive goals of musicians and propel jazz in creative and potentially fruitful directions. It is the improvised colloquy of such individual voices, transforming received and newly acquired musical materials in the service of self-expression, that contributed to the lasting allure of the music attributed to Ornette Coleman, Miles Davis and Duke Ellington. Saxophonist Jan Garbarek is proposed as a contemporary musician who has made use of all of these strategies in forging jazz music that demonstrates fidelity to the core processes of jazz while only provisionally embracing some of the style features of earlier forms of the music – style features that common jazz discourses have tended to emphasise at the expense of the processes that gave rise to them.</p>

Creativity in Jazz

<p>Common discourses around jazz generally acknowledge the centrality of creativity to the music, but scholarship on what precisely creativity is in jazz, and how it might best be enhanced is not well developed. Building on the important work in this area begun by scholars such as Ed Sarath and R. Keith Sawyer, I first investigate the extensive scholarly literature on creativity, drawing predominantly from social science and education contexts, and then apply some of the most relevant frameworks to jazz. These frameworks draw several key aspects of jazz practice into sharp relief, in particular the respective roles of individuals and ensembles and the ways they work in common, and the provenance of musical materials in creative jazz practice. With these key ideas acting as a theoretical lens, I view the historical practice of three unquestionably creative jazz musicians: Ornette Coleman, Miles Davis and Duke Ellington. The choice of these musicians in particular is important because their example, when understood through the lens of creativity, in part authenticates some of the traditional tools by which we investigate jazz, historically, while at the same time pointing towards some different, less commonly discussed attributes. Most important, the creativity lens reveals important ways in which creative practice can be attributable to understandable procedures that are available to all accomplished musicians, not just a few “great men”. Thus my conclusions call into question more traditional modes of jazz history and criticism which, while acknowledging the music’s collective nature, tend to emphasise the roles of individuals as primary in jazz. Instead, my research suggests that creativity is best achieved in group contexts where diversely gifted participants work collaboratively in egalitarian, interactive, improvised settings. Individuals do make significant contributions to this mix, and in terms of creative advances in jazz – and in terms of achieving meaningful self-expression – the most important quality individual musicians can pursue is the development and expression of unique musical voices. In addition to improvised interactivity among unique individual voices, the adoption of musical materials from outside of jazz and their transformations (along with similar transformations of musical materials already common currency among jazz musicians) can be shown to serve both the expressive goals of musicians and propel jazz in creative and potentially fruitful directions. It is the improvised colloquy of such individual voices, transforming received and newly acquired musical materials in the service of self-expression, that contributed to the lasting allure of the music attributed to Ornette Coleman, Miles Davis and Duke Ellington. Saxophonist Jan Garbarek is proposed as a contemporary musician who has made use of all of these strategies in forging jazz music that demonstrates fidelity to the core processes of jazz while only provisionally embracing some of the style features of earlier forms of the music – style features that common jazz discourses have tended to emphasise at the expense of the processes that gave rise to them.</p>

THE IMPORTANCE OF 1959-1967 PERIOD IN JAZZ HISTORY

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

Public Space, Community, and Enjoyment in Music Festival: The experiences of 2019 Jazz Traffic Festival audience in Surabaya

This research focuses on the visitors' experience of the Jazz Traffic Festival (JTF) 2019 in Surabaya. This research then aims to know how the experience gained by the visitors in JTF with the genre expansion was incorporated despite its title as Jazz music Performances. This research uses case study method and descriptive-qualitative approach. The data in this research is obtained by observation and independent-interviews with four informants as visitors of JTF. The results of this study showed that each JTF visitors have a different experience due to the preference and purpose of attending the festival. JTF becomes a public space for visitors who are part of the urban community for several reasons. The visitors attend JTF for the entertainment, to escape from the routine, to build social interactions, and to actualize self-identity. in addition, the innovative effort of JTF in maintaining its existence by expanding to non-jazz music and market was apparently still enjoyed by the visitors.

Brotherhood in Rhythm

This portrait of the Nicholas Brothers, Fayard and Harold, two of the most explosive dancers of the twentieth century, who refined a centuries-old tradition of percussive dance into the rhythmic brilliance of jazz tap at its zenith, interweaves an intimate portrait of these great performers with a detailed history of jazz music and jazz dance, bringing their act to life and explaining their significance through analysis of their eloquent footwork and full-bodied expressiveness. The book narrates the Nicholas Brothers’ soaring careers, from Cotton Club appearances with Duke Ellington, Cab Calloway, and Jimmy Lunceford to film-stealing big-screen performances with Chick Webb, Tommy Dorsey, and Glenn Miller. Drawing on numerous hours of interviews with the Nicholas brothers themselves, the book documents their struggles against the nets of racism and segregation that constantly constrained their careers and denied them the recognition they deserved.

Born into Jazz

This chapter presents a historiography of jazz music and dance in the first two decades of the twentieth century as the musical-cultural foundation from which the Nicholas Brothers emerged: Fayard Nicholas, born in Mobile, Alabama, on October 20, 1914, twelve weeks before the declarations of war by European countries that exploded into World War I; Harold Nicholas, born in Winston-Salem, North Carolina, on March 17, 1921, in the wake of the Great War. In the span of time between the Nicholas brothers’ births, with its mixed moods of anxiety and optimism over what the future would bring, a new form of music emerged—jazz—that reshaped American culture and influenced European culture, with its sudden turns, shocks, and swift changes of pace. Fayard and Harold Nicholas were instrumental in bringing the black vernacular form of jazz tap dancing to its penultimate expression.

The emotion trajectory of self-selected jazz music with lyrics: A psychophysiological perspective

This study explored how lyrics, participant-selected music, and emotion trajectory impact self-reported emotional (happiness, sadness, arousal, and valence) and physiological (heart, respiration, and skin conductance rates) responses. Participants were matched (based on sex, age, musicianship, and lyric preference) and assigned to a lyric or instrumental group. Each participant experienced one emotion trajectory (happy-sad or sad-happy), with alternating self- and experimenter-selected jazz music. Emotion trajectory had a significant effect on self-reports, where participants in the sad-happy trajectory reported significantly more sadness overall compared to participants in the happy-sad trajectory. There were also several interaction effects between the independent variables, which indicate the relevance of order as well as differences in processing musical emotions depending on whether music is instrumental or contains lyrics.