What is jazz, the history of jazz. Abstract - Jazz (English Jazz) is a form of musical art that arose in the late 19th and early 20th centuries in the United States as a result of the synthesis of African and European cultures and subsequently became widespread - Miscellaneous Jazz

Lesson topic: “Jazz is an art XX century”

Lesson metadata

WMC “Music, 6th grade. Textbook by G.P. Sergeeva, E.D. Crete"

Class : 6

Lesson type : A lesson in learning new material and primary consolidation

Topic : Jazz is artXXcentury”

The purpose of the lesson: To create conditions for understanding and comprehending a block of new educational information on the topic “Jazz is the art of the 20th century”.

Lesson form: lesson-benefit performance (benefit performance - performance in honor of one actor)

Tasks:

Tutorial: to create conditions for understanding and understanding the origins of jazz, its main directions, to acquaint with the founders of jazz art; create conditions for expanding the musical-intonational vocabulary and musical horizons;

Developing: create conditions for the development of ideas about jazz as a kind of professional musical art; create conditions for the development of mental abilities, associative and creative thinking, for the development of the ability to analyze, compare, generalize; create conditions for the development of vocal and choral skills, the development of the emotional and volitional sphere of students;

Educational: based on the emotional perception of jazz music, to cultivate the need for the spiritual side of life, to instill love and interest in the art of music, to cultivate a tolerant attitude towards the musical culture of other peoples of the world, to create conditions for the education of personal qualities: attentiveness, purposefulness, artistry.

Teaching methods: explanatory and illustrative, partially exploratory.

Forms organization of cognitive activity of students: frontal, group.

Logistics of the lesson

Printed products

"Music, 6th grade". Textbook by G.P. Sergeeva, E.D. Cretan.

S.I. Ozhegov. Explanatory dictionary of the Russian language.

Workbook, grade 6 G.P. Sergeeva, E.D. Cretan.

"Music. 5-7 grades. Guidelines. A guide for the teacher.

Individual cards for the task

Technical training aids

Chalkboard with a set of fixtures for attaching tables, posters and pictures.

Computer.

CD is a player for listening to music.

Projector.

Equipment: multimedia complex, CD - recordings of works by S. Joplin, J. Gershwin, L. Armstrong, video clips, sheet music, piano, a set of children's musical instruments, a PowerPoint presentation, handouts for students.

Expected Results (PEL)

Personal

Students will have:

the internal position of the student at the level of a positive attitude towards music lessons;

interest in various types of educational activities, including elements of subject-research activities.

Regulatory

Students will learn:

accept the learning task and follow the instructions of the teacher;

control the process and the result of their activities;

highlight and realize what has already been learned and what still needs to be learned.

cognitive

Students will learn:

to search for the necessary information using textbook and dictionary materials;

transform models in accordance with the content of the educational material and the set educational goal.

Communicative

Students will learn:

take an active part in the work in pairs and groups, using speech communication tools.

Lesson structure:

1. Organizational stage.

2. Update. Goal setting and motivation.

3. Primary assimilation of educational material.

4. Awareness and comprehension of educational material.

5. Consolidation of educational material.

6. Summing up. Reflection (introspection).

Lesson plan:

Greetings

Questions. Creating a problem situation

Listening to S. Joplin's ragtime

Answers on questions

scene

Determining the topic of the lesson

problem question

Epigraph to the lesson

International Jazz Day

The History of Jazz: The Migration of a People (map)

Creative listening task (work with a dictionary of aesthetic emotions)

The origins of jazz: spirituals, blues, ragtime.

jazz instruments

playing instrumentsragtime by S.Joplin “Variety Artist” (ORCHESTRA)

Basis of Jazz

Notable Jazz Artists

D. Gershwin. symphojazz

Jazz in Russia

Listening to a song performed by L. Utyosov. "How many good girls"

Work with text. Sincwine.

Listening to a song.

Song learning

Performance of the song

Reflection (introspection)

Homework: Write a poem in burime form. Solve the crossword.

Music material:

Ragtime by S. Joplin “Variety Artist”.

LouisArmstrongspiritual"Let my people go"Blues».

Fragment of the video "Merry Fellows" song "How many good girls" - Leonid Utyosov.

Song for learning "Adults and children."

During the classes

I . organizational stage.

Slide 2. Welcome

Let there be a joyful meeting! In such an acquaintance, friendship is the essence.

We are starting our benefit performance. As they say, good luck!

II. Actualization. Goal setting and motivation.

Slide 3. Questions

Today our lesson is dedicated to one famous celebrity.

(on the slides, by clicking on the questions, one after the other comes up)

Who is this mysterious guest?

What country did you come from?

What is his character?

Would he like to be friends with us?

For us, this is still a mystery. Perhaps music will help you answer all these questions. So let's listen

Ragtime by Scott Joplin "Variety Artist"

(excerpt 22 seconds)

Who guessed which hero came to us?

Children answer: This is jazz.

And how did you guess?

(That's right, the music sounded very rhythmic, bright, a little unusual.)

Guys, what do you know about jazz?

Who can add?

And whether he wants to make friends with us, we will find out during the lesson.

Slide 4. Scene

When jazz appeared, and it was in the beginningXXcentury. There were a lot of controversies. Let's see how this happened.

Now I will ask each group to come out one by one, in your opinion, the most artistic, emotional student. (The scene plays out).

See how differently they perceived the appearance of unusual music!

So, guys, try to determine the topic of the lesson.

Slide 5. Lesson topic: “Jazz is an art XX century"

In the lesson we will learn:

where and when did jazz appear;

get acquainted with its characteristic features;

we will listen to music performed by the best jazz musicians and try to sing and even play jazz ourselves.

And at the end of the lesson, you will have to answer the question: “Is jazz music light or serious?”

Slide 6. “Is jazz music light or serious?”

Slide 7. Epigraph for the lesson

And the epigraph to our lesson, we will take the words of one of the most popular musician of the last century, Louis Armstrong:“If you don’t stamp your feet while listening to this music, you will never understand what jazz is.”

III. Primary assimilation of educational material.

The word jazz appeared at the beginning of the 20th century. It began to designate a type of new

music that sounded then for the first time, as well as the orchestra that performed this music.

But already in our century, quite recently - 5 years ago in November 2011, the UNESCO General Conference announced the introduction of a new date in the world calendar - thisApril 30 - International Jazz Day.

For a century now, jazz has been the universal language of mankind, which unites people, despite their different cultural, religious and national affiliations. And the most important feature of jazz is the fusion of African and European music.

Slide 8. Map

Let's look at the map.

How did the Negroes get to America? And it went like this:

The people of Europe learned about the New World, which was located across the ocean. They wanted to change their lives, to develop new lands, they went to America. On the ships that were heading to the New World, people of different nationalities sailed, different speech was heard: Spanish, Italian, English, Scottish, French. This is how European music appeared in America.

But in the holds of these ships there was a “live cargo” - they were Negro slaves who were taken out of their native African places to work on the plantations of white people.

People came to the American South. And here in New Orleans there are the first orchestras performing jazz. They became known as jazz bands.

Slide 9. Jazz band

So there was a fusion of two cultures.

Slide 10. The fusion of two cultures

Blacks lived mainly in the south of North America. They lived hard, but had fun with excitement and inspiration.

Slide 11. Fun and celebration

Now we will listen to three diverse works. You have a dictionary of aesthetic emotions in your hands. After listening, you should emphasize the character that suits the piece being performed.

Slide 11. Fun and celebration

In order to strengthen obedience in their slaves, they had to be lured to Christianity. And while singing Christian prayers, the Negroes brought their own unusual rhythm into them. Turning to God, they sang about their hard life in prayer songs called spirituals.

Spiritual in translation from English means spiritual, church. They were composed on biblical stories and texts.

This genre was accompanied by clapping, stomping and dance moves.

Slide 12. Spiritual

VIDEO

Louis Armstrong “Let my people go!”

Slide 13. Blues

Other songs also appeared - songs-complaints, songs of protest. They became known as the blues. The blues speaks of need, of hard work. The blues has it all - drama, conflict, satire, and humor.

VIDEO Viewing and listening to a fragment of a work

Louis Armstrong "Blues"

Slide 14. Ragtime

Ragtime has a completely different character. Ragtime (ragged rhythm) - dance music of a special rhythmic warehouse. Now we remember the first

Slide 15. The origins of jazz

Spiritual, blues, ragtime - these are all the origins of jazz.

Now take a look at the next slide.

Slide 16. Favorite Jazz Instruments

(List by slide)

Guys, now we will try to create our own jazz orchestra.I invite you guys to participate in the performance of the piece that sounded at the beginning of the lesson. It's called"Variety Artist" king of ragtime Scott Joplin.

I will ask 2 people from each group. In front of you are instruments - tambourines, drums, maracas (students take instruments and are divided into 3 groups).

Let's tryimprovising , create a rhythmic accompaniment to this piece. (Drums play on a strong beat, a group of tambourines - on a weak one, and maracas - sound constantly).

Slide 17. Jazz orchestra

ORCHESTRA

I see that everyone enjoyed it, both musicians and listeners! Indeed, jazz music leaves no one indifferent.

And now let's check what characteristic you gave to the sounded melodies

(student answers)

Slide 18. Features of jazz music.

Remember: this is a complex rhythm, improvisation and orchestral solo of different instruments.

Slides 19-23. famous performers.

Before you are famous jazz performers: Louis Armstrong, Bessie Smith, Glenn Miller, Duke Ellington, Ella Ftzgerald.

And here is the famous American composer. George Gershwin - the creator of a new style in music - SYMPHOJAZZ.

Slides 24. George Gershwin.

HE combined classical and jazz traditions. And wrote the opera "Porgy and Bess"

Slides 25

classical+jazz

Slide 26. Jazz in the USSR

Jazz was also loved in our country. In the 20s and 30s we had our own jazz celebrities.

Among them is Valentin Parnakh, the creator of the first jazz orchestra in Russia and the first to write the word jazz in Russian.

Slide 27. Leonid Utyosov

And Leonid Osipovich Utyosov and his orchestra "Tea Jazz". Together with his theatrical jazz orchestra, Utyosov starred in the musical comedy "Merry Fellows", which premiered in December 1934.

VIDEO Watching and listening to a fragment of the film "Merry Fellows".

Thanks to jazz, such dances as foxtrot, twist, boogie-woogie, Charleston, rock and roll, etc. appeared. Pop music and rock music appeared.

IV. Awareness and comprehension of educational material.

Slide 28. Working with text.

Slide 29. Lyrics of the song "Adults and Children"

Performance by the whole class of V. Shainsky's song "Adults and Children" by heart with acoustic accompaniment (claps and clicks) in the introduction and losses and dance improvisation.

Lyrics of Song "Adults and Children"

So, what musical medium helped you define the style of this song? (The song is written in a jazz style. The rhythm is peculiar, there are syncopations, an emphasis on a weak beat, a dance character, the addition of claps and clicks.)

VI. Summing up the lesson. Reflection.

Slide 30. Jazz - light or serious music?

Until now, there are disputes about what kind of music - light or serious - can jazz be attributed to? At the lesson, different jazz pieces sounded - different both in mood and in content. What is your opinion? (Students give their opinions)

Slides 31

And now I invite you to summarize the impressions from the lesson on the topic “Jazz - the art of the twentieth century” and work in groups.

Independent work in groups.

Working with handouts

The teacher listens to the answers of the students, evaluates the work of the groups and each for the lesson.

I hope that today you have found a good friend in the face of Jazz, who will delight you in the happy moments of your life and support you in difficult times.

Slide 32. Reflection

Homework.

“Write a poem in the form of “burime”. Solve the crossword.

Slide 33. Thank you for your attention!

Guys, I thank you for the lesson. It was very interesting to work with you. I wish you creative success, good luck and health! Thank you for the lesson!

Literature.

1. Konen V. "The Birth of Jazz". Moscow, "Soviet Composer", 1990

2. Mikheeva L. “Musical dictionary in stories”. Moscow, "Soviet Composer", 1984

3. Finkelstein E. “Music from A to Z”. Publishing house "Composer", St. Petersburg, 1992

DICTIONARY OF AESTHETIC EMOTIONS

Joyful

playful

perky

naughty

Sunny

dance

sad

Complaint

dreary

Gloomy

Offended

crying

Good

Soft

Smooth

courteous

soothing

Smooth

MYSTERIOUS

GENTLE

CELEBRATION

fabulous

miraculous

magical

Mysterious

jerky

Acute

thoughtful

dreamy

Easy

Light

transparent

romantic

Proud

Cheerful

Important

Marching

Clear

victorious

Creative task

Summarize the impressions of the lesson in the form of syncwine (Japanese poetry) on the topic “Jazz is an artXX century":

Homework

Write a burime (a poem with the last words of each line):

O jazz!

Light.

Enlightenment.

No.

Inspiration.

SOLVE THE CROSSWORD:

Horizontally:

1. Brass instrument

2. American composerxx century

3. Composing music while performing it

4. The genre of the Negro song that influenced the development of the jazz style

5. Musical style

6. Jazz instrument

7. Keyboard instrument

Vertically:

1. Brass instrument

8. Negro religious song

10. Great Negro singer and trumpeter

11. Wind instrument

12. African stringed plucked instrument, widely used in country music.

SCENES

Note:

During the dialogue, it is desirable to emphasize the selected word with suitable intonation.

First student says indifferently: " Which strange name?"

Second student says inquiringly: "Maybe it nickname some kind?"

third student says indignantly: "Interesting… Who is he ?»

Fourth student speaks admiringly and admires, while it is very important: « Like who? Musician! »

third student (indignantly): " Yes it Savage with a gangster name does not know the rules of decency!

First student (questioning): "Did you hear whatnoise From him?"

Second student (almost screaming, indignantly) : « Have you seen how heunleashed in motion? Stomping, slamming . And everything makes too muchrhythmically! »

third student (adds very important): "And then, he illiterate! Play by notes can not!!!"

Fourth student (admiringly, raising index finger up): « Wrong, friends! He guy what you need! And he behaves this way because he does not know how to pretend! But he says thatfeels. And already more interesting and brighter than famous personalities!

Jazz - a form of musical art that arose at the end of the 19th - beginning of the 20th century in the USA, in New Orleans, as a result of the synthesis of African and European cultures and subsequently became widespread. The origins of jazz were the blues and other African American folk music. Characteristic features of the musical language of jazz initially became improvisation, polyrhythm based on syncopated rhythms, and a unique set of techniques for performing rhythmic texture - swing. Further development of jazz occurred due to the development of new rhythmic and harmonic models by jazz musicians and composers. Jazz sub-jazzes are: avant-garde jazz, bebop, classical jazz, cool, modal jazz, swing, smooth jazz, soul jazz, free jazz, fusion, hard bop and a number of others.

History of the development of jazz

Wilex College Jazz Band, Texas

Jazz arose as a combination of several musical cultures and national traditions. It originally came from Africa. Any African music is characterized by a very complex rhythm, music is always accompanied by dances, which are fast stomping and clapping. On this basis, at the end of the 19th century, another musical genre emerged - ragtime. Subsequently, the rhythms of ragtime, combined with elements of the blues, gave rise to a new musical direction - jazz.

The blues originated at the end of the 19th century as a fusion of African rhythms and European harmony, but its origins should be sought from the moment slaves were brought from Africa to the New World. The brought slaves did not come from the same clan and usually did not even understand each other. The need for consolidation led to the unification of many cultures and, as a result, to the creation of a single culture (including music) of African Americans. The processes of mixing African musical culture and European (which also underwent serious changes in the New World) took place starting from the 18th century and in the 19th century led to the emergence of "proto-jazz", and then jazz in the generally accepted sense. The cradle of jazz was the American South, and especially New Orleans.
Pledge of eternal youth of jazz - improvisation
The peculiarity of the style is the unique individual performance of the jazz virtuoso. The key to the eternal youth of jazz is improvisation. After the appearance of a brilliant performer who lived his whole life in the rhythm of jazz and still remains a legend - Louis Armstrong, the art of jazz performance saw new unusual horizons for itself: vocal or instrumental solo performance becomes the center of the entire performance, completely changing the idea of ​​jazz. Jazz is not only a certain type of musical performance, but also a unique cheerful era.

new orleans jazz

The term New Orleans is commonly used to describe the style of musicians who played jazz in New Orleans between 1900 and 1917, as well as New Orleans musicians who played in Chicago and recorded records from about 1917 through the 1920s. This period of jazz history is also known as the Jazz Age. And the term is also used to describe the music played in different historical periods by New Orleans revivalists who sought to play jazz in the same style as New Orleans school musicians.

African-American folklore and jazz have parted ways since the opening of Storyville, New Orleans' red-light district famed for its entertainment venues. Those who wanted to have fun and have fun here were waiting for a lot of seductive opportunities that offered dance floors, cabaret, variety shows, circus, bars and eateries. And everywhere in these institutions music sounded and musicians who mastered the new syncopated music could find work. Gradually, with the growth in the number of musicians working professionally in the entertainment establishments of Storyville, the number of marching and street brass bands decreased, and instead of them, the so-called Storyville ensembles arose, the musical manifestation of which becomes more individual, in comparison with the playing of brass bands. These compositions, often called "combo orchestras" and became the founders of the style of classical New Orleans jazz. Between 1910 and 1917, Storyville's nightclubs became the ideal setting for jazz.
Between 1910 and 1917, Storyville's nightclubs became the ideal setting for jazz.
The development of jazz in the United States in the first quarter of the 20th century

After the closure of Storyville, jazz began to turn from a regional folk genre into a nationwide musical direction, spreading to the northern and northeastern provinces of the United States. But of course, only the closure of one entertainment quarter could not contribute to its wide distribution. Along with New Orleans, St. Louis, Kansas City, and Memphis played an important role in the development of jazz from the very beginning. Ragtime was born in Memphis in the 19th century, from where it then spread throughout the North American continent in the period 1890-1903.

On the other hand, minstrel performances, with their motley mosaic of African-American folklore from jig to ragtime, spread quickly and set the stage for the advent of jazz. Many future jazz celebrities began their journey in the minstrel show. Long before Storyville closed, New Orleans musicians were touring with so-called "vaudeville" troupes. Jelly Roll Morton from 1904 toured regularly in Alabama, Florida, Texas. From 1914 he had a contract to perform in Chicago. In 1915 he moved to Chicago and Tom Brown's White Dixieland Orchestra. Major vaudeville tours in Chicago were also made by the famous Creole Band, led by New Orleans cornet player Freddie Keppard. Having separated from the Olympia Band at one time, Freddie Keppard's artists already in 1914 successfully performed in the best theater in Chicago and received an offer to make a sound recording of their performances even before the Original Dixieland Jazz Band, which, however, Freddie Keppard short-sightedly rejected. Significantly expanded the territory covered by the influence of jazz, orchestras playing on pleasure steamers that sailed up the Mississippi.

Since the end of the 19th century, river trips from New Orleans to St. Paul have become popular, first for the weekend, and later for the whole week. Since 1900, New Orleans orchestras have been performing on these riverboats, the music of which has become the most attractive entertainment for passengers during river tours. The future wife of Louis Armstrong, the first jazz pianist Lil Hardin, began in one of these orchestras, Suger Johnny. The riverboat band of another pianist, Faiths Marable, featured many future New Orleans jazz stars.

Steamboats that traveled along the river often stopped at passing stations, where orchestras staged concerts for the local public. It was these concerts that became creative debuts for Bix Beiderbeck, Jess Stacy and many others. Another famous route ran along the Missouri to Kansas City. In this city, where, thanks to the strong roots of African-American folklore, the blues developed and finally took shape, the virtuoso playing of New Orleans jazzmen found an exceptionally fertile environment. By the beginning of the 1920s, Chicago became the main center for the development of jazz music, in which, through the efforts of many musicians gathered from different parts of the United States, a style was created that received the nickname Chicago jazz.

Big bands

The classic, established form of big bands has been known in jazz since the early 1920s. This form retained its relevance until the end of the 1940s. The musicians who entered most big bands, as a rule, almost in their teens, played quite definite parts, either learned in rehearsals or from notes. Careful orchestrations, along with massive brass and woodwind sections, produced rich jazz harmonies and produced the sensationally loud sound that became known as "the big band sound".

The big band became the popular music of its day, reaching its peak in the mid-1930s. This music became the source of the swing dance craze. The leaders of the famous jazz bands Duke Ellington, Benny Goodman, Count Basie, Artie Shaw, Chick Webb, Glenn Miller, Tommy Dorsey, Jimmy Lunsford, Charlie Barnet composed or arranged and recorded on records a genuine hit parade of tunes that sounded not only on the radio but also everywhere in dance halls. Many big bands showed their solo improvisers, who brought the audience to a state close to hysteria during well-hyped "battles of the orchestras".
Many big bands demonstrated their solo improvisers, who brought the audience to a state close to hysteria.
Although big bands declined in popularity after World War II, orchestras led by Basie, Ellington, Woody Herman, Stan Kenton, Harry James, and many others toured and recorded frequently over the next few decades. Their music was gradually transformed under the influence of new trends. Groups such as ensembles led by Boyd Ryburn, Sun Ra, Oliver Nelson, Charles Mingus, Thad Jones-Mal Lewis explored new concepts in harmony, instrumentation and improvisational freedom. Today, big bands are the standard in jazz education. Repertory orchestras such as the Lincoln Center Jazz Orchestra, the Carnegie Hall Jazz Orchestra, the Smithsonian Jazz Masterpiece Orchestra, and the Chicago Jazz Ensemble regularly play original arrangements of big band compositions.

northeastern jazz

Although the history of jazz began in New Orleans with the advent of the 20th century, this music experienced a real rise in the early 1920s, when trumpeter Louis Armstrong left New Orleans to create new revolutionary music in Chicago. The migration of New Orleans jazz masters to New York that began shortly thereafter marked a trend of continuous movement of jazz musicians from the South to the North.

Louis Armstrong

Chicago embraced New Orleans music and made it hot, turning it up not just with Armstrong's famed Hot Five and Hot Seven ensembles, but others as well, including the likes of Eddie Condon and Jimmy McPartland, whose Austin High School crew helped revive the New Orleans schools. Other notable Chicagoans who have pushed the boundaries of classic New Orleans jazz include pianist Art Hodes, drummer Barrett Deems, and clarinetist Benny Goodman. Armstrong and Goodman, who eventually moved to New York, created a kind of critical mass there that helped this city turn into a real jazz capital of the world. And while Chicago remained primarily the center of sound recording in the first quarter of the 20th century, New York also emerged as the premier jazz venue, hosting such legendary clubs as the Minton Playhouse, the Cotton Club, the Savoy and the Village Vanguard, and as well as arenas such as Carnegie Hall.

Kansas City Style

During the era of the Great Depression and Prohibition, the Kansas City jazz scene became a mecca for the newfangled sounds of the late 1920s and 1930s. The style that flourished in Kansas City is characterized by soulful pieces with a blues tinge, performed by both big bands and small swing ensembles, demonstrating very energetic solos, performed for patrons of taverns with illegally sold liquor. It was in these pubs that the style of the great Count Basie crystallized, starting in Kansas City with Walter Page's orchestra and later with Benny Moten. Both of these orchestras were typical representatives of the Kansas City style, which was based on a peculiar form of blues, called "urban blues" and formed in the playing of the above orchestras. The Kansas City jazz scene was also distinguished by a whole galaxy of outstanding masters of the vocal blues, the recognized "king" among which was the long-term soloist of the Count Basie Orchestra, the famous blues singer Jimmy Rushing. The famous alto saxophonist Charlie Parker, who was born in Kansas City, upon his arrival in New York, widely used the characteristic blues "chips" he had learned in the Kansas City orchestras and later formed one of the starting points in the experiments of boppers in the 1940s.

West Coast Jazz

Artists captured by the cool jazz movement in the 1950s worked extensively in the Los Angeles recording studios. Largely influenced by nonet Miles Davis, these Los Angeles-based performers developed what is now known as West Coast Jazz. West Coast jazz was much softer than the furious bebop that had preceded it. Most West Coast jazz has been written out in great detail. The counterpoint lines often used in these compositions seemed to be part of the European influence that had penetrated into jazz. However, this music left a lot of space for long linear solo improvisations. Although West Coast Jazz was performed primarily in recording studios, clubs such as the Lighthouse in Hermosa Beach and the Haig in Los Angeles often featured its masters, which included trumpeter Shorty Rogers, saxophonists Art Pepper and Bud Shenk, drummer Shelley Mann and clarinetist Jimmy Giuffrey.

The Spread of Jazz

Jazz has always aroused interest among musicians and listeners around the world, regardless of their nationality. It suffices to trace the early work of trumpeter Dizzy Gillespie and his synthesis of jazz traditions with black Cuban music in the 1940s or later, the fusion of jazz with Japanese, Eurasian and Middle Eastern music, famous in the work of pianist Dave Brubeck, as well as in the brilliant composer and leader of jazz - the Duke Ellington Orchestra, which combined the musical heritage of Africa, Latin America and the Far East.

Dave Brubeck

Jazz constantly absorbed and not only Western musical traditions. For example, when different artists began to try to work with the musical elements of India. An example of this effort can be heard in the recordings of flautist Paul Horn at the Taj Mahal, or in the stream of "world music" represented, for example, by the Oregon band or John McLaughlin's Shakti project. McLaughlin's music, formerly largely based on jazz, began to use new instruments of Indian origin, such as the khatam or tabla, during his work with Shakti, intricate rhythms sounded and the form of the Indian raga was widely used.
As the globalization of the world continues, jazz is constantly influenced by other musical traditions.
The Art Ensemble of Chicago was an early pioneer in the fusion of African and jazz forms. The world later came to know saxophonist/composer John Zorn and his exploration of Jewish musical culture, both within and outside the Masada orchestra. These works inspired entire groups of other jazz musicians, such as keyboardist John Medeski, who recorded with African musician Salif Keita, guitarist Marc Ribot and bassist Anthony Coleman. Trumpeter Dave Douglas brings inspiration from the Balkans to his music, while the Asian-American Jazz Orchestra has emerged as a leading proponent of the convergence of jazz and Asian musical forms. As the globalization of the world continues, jazz is constantly being influenced by other musical traditions, providing mature food for future research and proving that jazz is truly world music.

Jazz in the USSR and Russia

The first in the RSFSR jazz band of Valentin Parnakh

The jazz scene originated in the USSR in the 1920s, simultaneously with its heyday in the USA. The first jazz orchestra in Soviet Russia was created in Moscow in 1922 by the poet, translator, dancer, theater figure Valentin Parnakh and was called "Valentin Parnakh's First Eccentric Jazz Band Orchestra in the RSFSR". The birthday of Russian jazz is traditionally considered October 1, 1922, when the first concert of this group took place. The orchestra of pianist and composer Alexander Tsfasman (Moscow) is considered to be the first professional jazz ensemble to perform on the air and record a disc.

Early Soviet jazz bands specialized in performing fashionable dances (foxtrot, Charleston). In the mass consciousness, jazz began to gain wide popularity in the 30s, largely due to the Leningrad ensemble led by actor and singer Leonid Utesov and trumpeter Ya. B. Skomorovsky. The popular film comedy with his participation "Merry Fellows" (1934) was dedicated to the history of a jazz musician and had a corresponding soundtrack (written by Isaac Dunayevsky). Utyosov and Skomorovsky formed the original style of "tea-jazz" (theatrical jazz), based on a mixture of music with theater, operetta, vocal numbers and an element of performance played a large role in it. A notable contribution to the development of Soviet jazz was made by Eddie Rosner, a composer, musician and leader of orchestras. Having started his career in Germany, Poland and other European countries, Rozner moved to the USSR and became one of the pioneers of swing in the USSR and the initiator of Belarusian jazz.
In the mass consciousness, jazz began to gain wide popularity in the USSR in the 1930s.
The attitude of the Soviet authorities to jazz was ambiguous: domestic jazz performers, as a rule, were not banned, but harsh criticism of jazz as such was widespread, in the context of criticism of Western culture in general. In the late 1940s, during the struggle against cosmopolitanism, jazz in the USSR experienced a particularly difficult period, when groups performing "Western" music were persecuted. With the onset of the "thaw", the repressions against the musicians were stopped, but the criticism continued. According to the research of professor of history and American culture Penny Van Eschen, the US State Department tried to use jazz as an ideological weapon against the USSR and against the expansion of Soviet influence in the third world countries. In the 50s and 60s. in Moscow, the orchestras of Eddie Rozner and Oleg Lundstrem resumed their activities, new compositions appeared, among which the orchestras of Iosif Weinstein (Leningrad) and Vadim Ludvikovsky (Moscow), as well as the Riga Variety Orchestra (REO), stood out.

Big bands brought up a whole galaxy of talented arrangers and solo improvisers, whose work brought Soviet jazz to a qualitatively new level and brought it closer to world standards. Among them are Georgy Garanyan, Boris Frumkin, Alexei Zubov, Vitaly Dolgov, Igor Kantyukov, Nikolai Kapustin, Boris Matveev, Konstantin Nosov, Boris Rychkov, Konstantin Bakholdin. The development of chamber and club jazz in all its diversity of style begins (Vyacheslav Ganelin, David Goloshchekin, Gennady Golshtein, Nikolai Gromin, Vladimir Danilin, Alexei Kozlov, Roman Kunsman, Nikolai Levinovsky, German Lukyanov, Alexander Pishchikov, Alexei Kuznetsov, Viktor Fridman, Andrey Tovmasyan , Igor Bril, Leonid Chizhik, etc.)

Jazz Club "Blue Bird"

Many of the above masters of Soviet jazz began their creative career on the stage of the legendary Moscow jazz club "Blue Bird", which existed from 1964 to 2009, discovering new names of representatives of the modern generation of Russian jazz stars (brothers Alexander and Dmitry Bril, Anna Buturlina, Yakov Okun, Roman Miroshnichenko and others). In the 70s, the jazz trio "Ganelin-Tarasov-Chekasin" (GTC) consisting of pianist Vyacheslav Ganelin, drummer Vladimir Tarasov and saxophonist Vladimir Chekasin, which existed until 1986, gained wide popularity. In the 70-80s, the jazz quartet from Azerbaijan "Gaya", the Georgian vocal and instrumental ensembles "Orera" and "Jazz-Khoral" were also known.

After the decline of interest in jazz in the 90s, it began to gain popularity again in youth culture. Jazz music festivals are held annually in Moscow, such as Usadba Jazz and Jazz in the Hermitage Garden. The most popular jazz club venue in Moscow is the Union of Composers jazz club, which invites world-famous jazz and blues performers.

Jazz in the modern world

The modern world of music is as diverse as the climate and geography that we learn through travel. And yet, today we are witnessing a mixture of an increasing number of world cultures, constantly bringing us closer to what, in essence, is already becoming “world music” (world music). Today's jazz cannot but be influenced by sounds penetrating into it from almost every corner of the globe. European experimentalism with classical overtones continues to influence the music of young pioneers such as Ken Vandermark, a frigid avant-garde saxophonist known for his work with such notable contemporaries as saxophonists Mats Gustafsson, Evan Parker and Peter Brotzmann. Other more traditional young musicians who continue to search for their own identities include pianists Jackie Terrasson, Benny Green and Braid Meldoa, saxophonists Joshua Redman and David Sanchez, and drummers Jeff Watts and Billy Stewart.

The old tradition of sounding is being rapidly carried on by artists such as trumpeter Wynton Marsalis, who works with a team of assistants both in his own small bands and in the Lincoln Center Jazz Band, which he leads. Under his patronage, pianists Marcus Roberts and Eric Reed, saxophonist Wes "Warmdaddy" Anderson, trumpeter Markus Printup and vibraphonist Stefan Harris grew into great musicians. Bassist Dave Holland is also a great discoverer of young talent. Among his many discoveries are artists such as saxophonist/M-bassist Steve Coleman, saxophonist Steve Wilson, vibraphonist Steve Nelson and drummer Billy Kilson. Other great mentors of young talent include pianist Chick Corea and the late drummer Elvin Jones and singer Betty Carter. The potential for further development of jazz is currently quite large, since the ways of developing talent and the means of its expression are unpredictable, multiplying by the combined efforts of various jazz genres encouraged today.

Jazz is a unique phenomenon in the world musical culture. This multifaceted art form originated at the turn of the century (XIX and XX) in the United States. Jazz music has become the brainchild of the cultures of Europe and Africa, a kind of fusion of trends and forms from the two regions of the world. Subsequently, jazz went beyond the United States and became popular almost everywhere. This music takes its basis in African folk songs, rhythms and styles. In the history of the development of this direction of jazz, many forms and types are known that appeared as new models of rhythms and harmonics were mastered.

Characteristics of Jazz

The synthesis of two musical cultures made jazz a radically new phenomenon in world art. The specific features of this new music were:

• Syncopated rhythms that generate polyrhythms.
• Rhythmic pulsation of music - beat.
• Beat deviation complex - swing.
• Constant improvisation in compositions.
• A wealth of harmonics, rhythms and timbres.

The basis of jazz, especially in the early stages of development, was improvisation combined with a well-thought-out form (at the same time, the form of the composition was not necessarily fixed somewhere). And from African music, this new style took the following characteristic features:

• Understanding each instrument as a percussion.
• Popular colloquial intonations in the performance of compositions.
• A similar imitation of conversation when playing instruments.

In general, all areas of jazz are distinguished by their own local features, and therefore it is logical to consider them in the context of historical development.

The emergence of jazz, ragtime (1880-1910s)

It is believed that jazz originated among black slaves brought from Africa to the United States of America in the 18th century. Since the captured Africans were not represented by a single tribe, they had to find a common language with their relatives in the New World. This consolidation led to the emergence of a unified African culture in America, which also included musical culture. It was not until the 1880s and 1890s that the first jazz music emerged as a result. This style was driven by worldwide demand for popular dance music. Since African musical art was replete with such rhythmic dances, it was on its basis that a new direction was born. Thousands of middle-class Americans, who had no opportunity to master the aristocratic classical dances, began to dance to the piano in the ragtime style. Ragtime brought several future jazz bases to music. So, the main representative of this style, Scott Joplin, is the author of the element "3 against 4" (cross-sounding of rhythmic patterns with 3 and 4 units, respectively).

New Orleans (1910-1920s)

Classical jazz appeared at the beginning of the 20th century in the southern states of America, and specifically in New Orleans (which is logical, because the slave trade was widespread in the south).

African and Creole orchestras played here, creating their music under the influence of ragtime, blues and songs of black workers. After the appearance in the city of many musical instruments from military bands, amateur groups also began to appear. The legendary New Orleans musician and founder of his own orchestra, King Oliver, was also self-taught. An important date in the history of jazz was February 26, 1917, when the Original Dixieland Jazz Band released its first own gramophone record. The main features of the style were also laid in New Orleans: a beat of percussion instruments, a masterful solo, vocal improvisation with syllables - scat.

Chicago (1910-1920s)

In the 1920s, called the "roaring twenties" by the classics, jazz music gradually enters mass culture, losing the titles "shameful" and "indecent". Orchestras begin to perform in restaurants, move from the southern states to other parts of the United States. Chicago is becoming the center of jazz in the north of the country, where free nightly performances by musicians are gaining popularity (during such shows there were frequent improvisations and third-party soloists). More complex arrangements appear in the style of music. The jazz icon of this time was Louis Armstrong, who moved to Chicago from New Orleans. Subsequently, the styles of the two cities began to be combined into one genre of jazz music - Dixieland. The main feature of this style was the collective mass improvisation, which elevated the main idea of ​​jazz to the absolute.

Swing and big bands (1930s-1940s)

The further rise in popularity of jazz created a demand for large orchestras to play danceable tunes. This is how swing appeared, representing characteristic deviations in both directions from the rhythm. Swing became the main stylistic direction of that time, manifesting itself in the work of orchestras. The execution of slender dance compositions required a more coordinated playing of the orchestra. Jazz musicians had to participate evenly, without much improvisation (except for the soloist), so Dixieland's collective improvisation is a thing of the past. In the 1930s there was a flourishing of such groups, which were called big bands. A characteristic feature of the orchestras of that time is the competition of groups of instruments, sections. Traditionally, there were three of them: saxophones, trumpets, drums. The most famous jazz musicians and their orchestras are Glenn Miller, Benny Goodman, Duke Ellington. The latter musician is famous for his commitment to Negro folklore.

Bebop (1940s)

Swing's departure from the traditions of early jazz and, in particular, classical African melodies and styles, caused discontent among history buffs. Big bands and swing performers, who were increasingly working for the public, began to be opposed by the jazz music of small ensembles of black musicians. The experimenters introduced ultra-fast melodies, brought back long improvisation, complex rhythms, and mastery of the solo instrument. The new style, positioning itself as exclusive, began to be called bebop. Outrageous jazz musicians such as Charlie Parker and Dizzy Gillespie became the icons of this period. The revolt of black Americans against the commercialization of jazz, the desire to return to this music intimacy and uniqueness became a key point. From this moment and from this style, the history of modern jazz begins. At the same time, leaders of big bands come to small orchestras, wishing to take a break from large halls. In ensembles called combos, such musicians adhered to the swing style, but were given freedom to improvise.

Cool jazz, hard bop, soul jazz and jazz funk (1940s-1960s)

In the 1950s, such a genre of music as jazz began to develop in two opposite directions. Supporters of classical music "cooled" bebop, bringing back into fashion academic music, polyphony, and arrangement. Cool jazz has become known for its restraint, dryness and melancholy. The main representatives of this trend of jazz were: Miles Davis, Chet Baker, Dave Brubeck. But the second direction, on the contrary, began to develop the ideas of bebop. The hard bop style preached the idea of ​​returning to the origins of black music. Traditional folklore melodies, bright and aggressive rhythms, explosive soloing and improvisation returned to fashion. In the style of hard bop are known: Art Blakey, Sonny Rollins, John Coltrane. This style developed organically along with soul jazz and jazz funk. These styles approached the blues, making rhythmic a key aspect of their performance. Jazz funk, in particular, was introduced by Richard Holmes and Shirley Scott.

Jazz is a unique phenomenon of musical art.

Once, someone asked me:
Is jazz really music?
I was so shocked that I couldn't even answer. Time flew by. Life changes, people change...

— Jazz is a unique phenomenon of musical art…

A very long time ago, when notes did not yet exist, music, as it would be easier for me to say, was transmitted “from ear to ear”. After all, musical creativity from ancient times and still exists in three planes: one is the composer of music, the second is the performer, and the third is combining these two concepts and the author and performer in one person.
Composing for music, we will call compositions, is based on the principle of a long process that realizes the creative impulse directly in sounds, which is later recorded as a finished work.
At the heart of the performing arts are the functions of the performance itself, based on the principle of developing a large amount of musical memory, as well as the development of virtuoso technical techniques of performance.
But the third principle, combining both performance and composition in one person, should have another important function - the so-called talent for improvisation, that is, the principle of simultaneous creation and performance of music (without a preliminary preparation process) during performance. Although this is quite debatable. Because there are examples when the composer had a poor command of the technique of performance and did not know how to improvise, but wrote unique, virtuoso works. And vice versa, a performer who knows how to perfectly improvise on ready-made standards of melodies and harmonies has not composed even a single piece, even the smallest one.
This short introduction is necessary to understand some things, which I will talk about a little later.
So much has been written about the development and history of jazz that it is already very difficult to add anything. But still, it is worth repeating somewhere, and somewhere focusing on those things that sometimes fall out of our attention. Or it can turn the awareness of the significance of certain elements of jazz, as a unique phenomenon of the musical art of the 20th century, into some new direction.
Understanding perfectly well that each element of the life process has its own time, I cannot say that academic music is alive and well, rock music too, not to mention the world treasury - folklore. But who's to say that jazz is already dead?
The major musical cultures that created unique, powerful masterpieces will remain in the future development of the earth - forever. Moving away from the major themes of the entire world musical culture, I would like to ask myself the question: - what makes jazz different from everything else?
To do this, we need to go back and analyze one important question: what kind of process is improvisation? This need is called for some future connection and conclusion.

So, improvisation. Musical improvisation is much older than musical composition. Improvisation is an Italian word, but derived from the Latin - "improvisus" (unexpected, sudden). This is a special kind of artistic creativity, in which creation (composition) occurs directly in the process of action (performance). It is known that in the musical cultures of non-European peoples, improvisation still performs the most important function, which manifests itself in various forms. Improvisational types of creativity also dominated the territory of Europe and began to gradually lose their positions, starting from the (appearance of an early notation system) of the 9th to the 16th centuries. During this critical period (the beginning of the active influence of the written subculture), the word improvisation appeared, as a manifestation of a certain watershed. In musical culture - variations, canon, toccata, fantasy and even fugue, and sonata form, were once actively improvised, and precisely in the process of being performed in public. But with the advent of the so-called age of musical notation, it was European musical notation that became, in the full sense of the word, the prevailing element for the musical art of the whole world, and this was one of the factors of its universality and global significance, and improvisation disappears from the concert stage. Is it good or bad? Here you can express thousands of assumptions. But we will leave this conversation not for this context for now.
So, the written method (notation) - carries a new concept of musical art, other aesthetic criteria, a different creative psychology, other auditory qualities, new methods of professional training. And naturally, written traditions have led to a more perfect method (fixation) of the music itself and a more accurate chronology of musical history. In the bowels of the musical written culture of Europe, improvisational skills began to gradually become emasculated. The manifestation of this phenomenon is noticeable already in the XII-XVI centuries. In the 18th-19th centuries, musical improvisation was viewed with particular hostility, as a manifestation of sheer illiteracy and charlatanism. And at the end of the 19th century, it was practically forgotten completely. Although we know for sure what amazing improvisers were: Bach, Mozart, Chopin, Liszt, Scriabin, Rachmaninoff... But still, the age of improvisation as a historical process for the common European musical culture is over. But what happened next? To answer this question, we need to move from old Europe to young America.
There are various rumors about young America. I think that some progressive Americans, after all, know the history of the formation of young America better than you and me. Therefore, I will direct my thoughts in a different direction. To put it simply, different people flock to America, naturally representing different musical cultures, mainly from Europe. They are also brought from Africa, but as slaves ... People from Pan-Asian countries arrive in smaller numbers. The indigenous peoples of America, mostly Indians, are being displaced. Here, many drew attention to one important detail.
People from all over the globe began to flock to America to earn a lot of money in this young country and thereby change their lives for the better. It's a good idea. But the social environment, and behind it the way of life and culture, was built on a completely different principle, on “different material” than in conservative (if you can, of course, call it that) Europe. Naturally, such an unimaginable synthesis of cultures and the way of life itself, could not but affect the organization, the birth of some new subculture, “somewhat” different from European culture. What am I getting at?
The tale that black slaves gave birth to jazz is not entirely plausible, and moreover, extremely harmful.
The struggle of black Americans for their rights is respected. Historians, who saw some social roots in this, began to frankly juggle the facts, namely, the structural elements of the new musical subculture, because they themselves did not understand anything about this at that time. And immediately after this, Europe responded, and later the Soviet Union, and it went and went. The simplest logic in those distant times was not appropriate. But still, even in those distant times of the beginning of the 20th century, more than once progressive scientists wrote (but somehow they didn’t pay attention to it, or didn’t want to pay attention, all sorts of revolutions were too fashionable in those days, and the struggle for social right), that in Africa, jazz, somehow, was not born, did not even take root. Yes, and in India to a greater extent - too. Although it can be said for sure that many Indian folklore rhythms are absolutely acceptable and are identified with jazz rhythms, no less than African ones. Why?
Interesting comparison. Karate-do. All over the world, this martial art is considered Japanese. So it is. How would the school itself and the social environment for this martial art be formed in Japan. But what is the way to get this, let's say, exercises, to the Japanese islands. And everything is simple. From India, the road lies to China, then to the Japanese island of Okinawa, which in those days was still Chinese. So what about these factors?
Let's go back to the end of the 19th century. Europe was enjoying the art of the great musical masters. That cost only one - Chopin. And what about Liszt, Wagner, Tchaikovsky, Rachmaninov?.. And everyone somehow missed the moment when the integration of many musical systems in America, which was already gaining economic strength, began to give rise to a kind of symbiosis, a new musical subculture, which would then take over the whole world in the 20th century , but this is not only jazz, but also rock, as a natural continuation of it.
My thoughts will be based on very simple concepts and comparisons, as well as freely stated phrases from some works, in order not to lead you into some kind of fornication with theoretical terms, I still remember many of them. But, of course, you and I will not completely abandon the terminology, since it often carries a conglomerate of concepts that are difficult to lay out in one sentence.
If you want to travel with me, I will be glad. If you want to get out of the way of my thoughts, close this material.

So. The confluence of historical events, the interweaving of destinies, the social environment, the synthesis of cultures, this is only a small component of the prerequisites for the generation of a new musical subculture. Yes. You can talk a lot about who was the first performer of a particular musical direction. But still, the most important thing is that we need to understand exactly what direction it is and what exists in this direction.
After all, you can’t go anywhere (“you’ll fall in love and get married”), and yet all music is based on three, as they say, whales: melody, harmony and rhythm.

Melody.
Each generation, as it were, develops its own melodic repertoire, which best suits the historical ideas of the given time. But melody is an integral part of rhythm and, often, harmony, and is largely dependent on these factors. Late 19th century, early 20th century. The main melodic component of that time in America is the European melodic model, and only then the introduction of elements inherent in the folklore of black Americans, Indians, English, Scottish, French, Spanish and other peoples inhabiting America into it. But the most characteristic methods of performing the melody appeared in the new musical subculture in some of the so-called blues tones (blue-notes), which are characteristic of the folklore of American blacks, but not only them (the “flickering” of major and minor is inherent in Old Russian folklore too). Some "dirty", "unstable" (dirty, labile), shout effects (shout). These are the characteristic elements of melodic techniques (I emphasize, techniques) for that time, which later became characteristic of jazz, that is, they became standards, but not fundamental elements of the melody.

Harmony.
Harmony in its classical sense is an element of music inherent in the main European direction. In the new musical subculture of the beginning of the 20th century on the American continent, the process of development of harmony took place with the very process of composing, playing music and is associated with those expressive means that the musician wanted to express at the moment. In jazz, harmony is inherent in linear (consistent, diatonic), this structure of the sequence of harmonies is characteristic of the folk music of many European peoples and not only them, although not all jazz works are such. A vivid example: the harmonic structure (harmony sequence) of Blues, many say that this is completely the creation of American blacks, and this is a purely European chord sequence (but here are seventh / sixth chords - that is, the coloring of these chords is already characteristic of jazz itself): I-IV- I-II-VI (intentionally put instead of IV - II step to remove the talk that illiterate Africans used the turn of the V-IV step, the harmonic turn forbidden in classical European music, and II-V - it turns out that it is allowed, but it is almost imperceptible , although let it be V-IV). We found out that the harmony in Blues is purely European. The number of cycles is twelve. But this is not the result of the creation of some new Negro non-standard musical structure (form), but simply the addition of four more measures to eight measures (an absolutely European system of shaping) due to the simple repetition of a four-bar line of a poetic text. In 1965, the master, bachelor, teacher of the Juilliard School, John Mehegan, published a work using a digital harmony designation system (general-bass - “general bass”, which has existed for 200 years in European musical culture), thereby accurately and fully displaying the entire system of organization harmony in jazz, drawing a parallel between the origin of jazz harmony and classical. But I want to emphasize that triads are practically not used in jazz, but chords are used, at least four sounds.

Rhythm.
In the area of ​​rhythm, jazz musicians have made the most significant advances. “It is the rhythmic qualities of jazz that fascinate many people around the world and have become emblematic of the sound of jazz.” But the rhythm organization based on standard meter and time signatures is a purely European model, inherent in its entire musical culture. Yes. There is no analogy in classical European music for the unique rhythmic elements of jazz. For classical European music, maybe yes, but not for the folklore rhythm model of various non-European countries. This applies to pan-Asian countries, Turkey (sakal…), India (detsy-talas…), Bulgarian, Russian rhythms and, of course, the rhythms of the African continent. Here is an example of simple rhythmic counterpoint inherent in European thinking:
1. eighth notes - melody;
2. halves - harmony;
3. quarters - meter, time.
It is on these three verticals in jazz that a certain new rhythm organization takes place, which does not lend itself to any musical notation. Although this is a controversial issue. You can record everything… I don’t want to talk too much about shuffle, drive, cross-rhythm — all this can be combined with the word swing, but this is also a conditional name and naturally it is impossible to combine all the concepts of jazz rhythm organization with this word, especially cross-rhythm (cross rhythms). Much has been written about rhythms, the history of the development of rhythms, biorhythmics by major composers of the 20th century such as Messiaen, Boulez, Webern ... I would like to note that the romantic composers of the late 19th century already had a growing tendency towards some kind of free-dynamic accentuation against the metrical function of the beat . It was already a kind of swing, but more free and sophisticated. However, jazz rhythm marked the beginning of a new era of rhythm organization in the 20th century.

Following the logic of my reasoning, it becomes clear that no one in those days created anything supernatural, and it was not necessary. The “collection of all works” in the field of folk (I emphasize - folk, at the same time, different peoples) musical culture at the end of the 19th and beginning of the 20th century on the American continent led to the birth of a powerful musical direction - Jazz, which became a match only for academic musical culture. At the same time, the use of European musical instruments, including even percussion, once again emphasizes the logic that ninety percent of jazz is based on the European method and rules of music-making accepted at that time.
Melody. Harmony. Rhythm. Modifying, these three whales still remained fundamentally fundamental in jazz. But jazz would not be jazz if you and I nevertheless let go of the element that is its core in jazz - this is improvisation. Eighty percent of jazz music is improvisation. Without improvisation, jazz, such as we have today, would not exist at all.
But back to improvisation. You and I already know that at the end of the 19th century, improvisation in academic music was viewed with particular hostility. But on the American continent, by and large, at the end of the 19th century, academic music, to put it mildly, was treated coolly.
But... But still, many pieces of music and songs of that time, even such as: early ragtime, country music and beginning blues, were played without the possibility of improvisation. They just learned.
But how did the process of returning improvisation to musical culture, even a new one, begin?
Improvisation, as an art form, requires special talent, which distinguishes an improvising musician from a musician who only reads notes.
An improviser must master the material of his art: musical form, melody, harmony, rhythm, texture, polyphony, etc., no worse than a composer. That is, the prerequisites for the revival of improvisation are the emergence of people (musicians-improvisers) who could embody all the elements of this art form. And the process began. That is, the process of self-expression of musicians began (fortunately, the new direction of music - jazz allowed this), both in terms of composition and in terms of performing skills.
There is a law in psychology, which is called "anticipatory reflection." In musical activity, this was expressed in the ability of musicians to predict the further development of a musical work. This factor, along with many others (about which a little later), is important in the work of an improviser. Given the significant number of operations performed by an improviser, it should be noted that most of the skills should be automated, since the consciousness of a musician at the time of improvisation is mainly occupied with the search for the development of musical thought. Each improvising musician must have an "elementary musical complex":
1 ability to emotionally respond to music;
2 modal (harmonic) feeling;
3 sense of form;
4 auditory representation;
5 rhythmic sense;
6 the ability to analyze music in the process of performance and predict its development.
This is the minimum that an improviser should have.
But still, I would like to take a closer look at the two main factors of an improviser, which we already know:
1) composer apparatus;
2) executive apparatus.
Musical improvisation is a form of productive artistic activity that results in a new work or a new version of an existing musical theme. The main tool for this is creative thinking. The work of the imagination and the management of acquired skills is central to creativity. When creating a work, the composer solves mental problems of an analytical level to a certain extent, acting by the method of selection, comparing what has been achieved with the goal towards which he is moving. Constructive thinking often acts independently as the main driving factor. Constructive thinking is immediately followed by the so-called artistic-figurative thinking. Both types of thinking form the basis of the composer's apparatus of the improviser. The components of evaluation, that is, the aesthetic taste of the composer's apparatus, are a sense of proportion and a sense of form.
And an improviser who simultaneously performs music and creates it must also have a performing apparatus no less than a composer's. The performing apparatus differs from the composer's. In the language of philosophy, the performer contemplates. And if we look even deeper into the fabric of the artist's creative process, then he, as it were, refines, contemplates the composer's activity, turning his theme (work) into a complete highly artistic image. This means that the type of thinking (reproductive) and its derivative, a highly organized type of imagination, are considered as the main element of the performer. And of course, it has already been said that the improviser's mastery of performance is based on the principles of developing a large amount of musical memory, as well as the development of virtuoso technical techniques of performance.
And so these two global images, two directions of musical thinking and skills united into a certain substance that gave rise to a completely new generation of improvisational musicians, thus closing the chain of the return of the improvisational element to the musical culture of the 20th century as a whole. Of course, this process was not lightning fast and unambiguous. Everything developed and returned to its place gradually.
The first skills of the improviser lay in the plane of the so-called paraphrase improvisation, that is, improvisation of the appropriate variability, embellishment of the melody, a small variety in rhythms, etc.
Further, the musicians' improvisational skills developed and resulted in a certain system of linear improvisation. This system of improvisation dominates, practically until now, but naturally, developing. Today, everything falls into the improvisational element: melody, harmony, rhythm and even form, as the general structure of the work. So, linear improvisation is a kind of composing a new version of a melodic line on an existing harmony, theme, form, or maybe only on harmony, or even just on the modal structure of the work.
But there are various rumors about the third type (system) of improvisation - spontaneous. Spontaneous improvisation, free improvisation is something that is difficult to analyze. Let's say I offer myself this option for improvisation: g-moll (Mixolydian mode), plus based on some kind of rhythm, or I choose the character of the piece, determine the tempo, texture, etc. This suggests that there is no such thing as absolutely free improvisation. The process of improvisation is by no means some kind of secret ritual performed arbitrarily without prior and precise knowledge and skills. Rather, it is the conscious application of logical and comprehensive musical ideas that reach heights of expression in partnership with a trained musical talent endowed with the capacity for imagination.
These little crumbs of knowledge of the improvisational apparatus of a musician I present in this work, knowing, of course, not in full, but still knowing how the improvisational element developed in the history of musical culture.
The development of improvisation in the 20th century is practically a repetition of this story, but at a new stage of time. This is the revival and return of improvisation to the general musical world. And this happened thanks to the birth and development of a unique, large, beautiful and inimitable musical art - jazz.
And yet, in order not to be unfounded, let's make a short digression into the history of improvisational art. This is extremely helpful. Very little is written about this. But who does not want to read this, or knows this material, you can skip it.

In the first centuries of our era, in the musical tradition of the Mediterranean, there was only the so-called oral tradition of transmitting musical material. The ancient schools of late antique culture, which have come down to us, taught: "one must sing according to one's own intuition." In the philosopher Boethius of 480-525 we meet the words: “but he who cannot sing pleasantly still sings to himself”… In the 7th century, the time of spiritual chanting comes. At first, the church did not exclude improvisation. At the moment when it was necessary to compose something instantly, the singer naturally used his improvisational skills. The Gregorian traditions of the churches have left their mark. The singer who lived in the first millennium had no need for precise notation, since literally repeatable music did not yet exist. Each musician brought something new to the musical material, i.e. improvised.
At the beginning of the second millennium, in musical treatises on the art of music, the word improvisation is more and more often encountered, as a forerunner of written creativity. Apparently, the musicians of that era were already thinking about the very phenomenon of improvisation. The outstanding reformer of musical pedagogy and musical notation, Guido Aretinsky, puts forward a method of composing based on chance. This is very similar to what would be an improvisation on letter (or number) harmony in today's game. But in this kind of spontaneous composition proposed by Aretinsky, the system of modern academic composers working in serial and aleatoric composition is most visible.
In the 12th-14th centuries, the manner of improvisation of minstrels, jugglers, stud men and the degree of their virtuosity largely depended on specific conditions. Aristocratic entertainment (hunting tournaments) was accompanied by music, and a medieval procession could combine elements of folklore performance, religious drama, dance, chants and ensemble improvisation, which is confirmed by the words of the chronicler of the Burgundian court:
"and silver trumpets, six or more, and other minstrel trumpets, organ players, harp players and countless other instruments - all made such a noise with the power of their playing that the whole city rang." Forms, methods and methods of collective improvisation in the Middle Ages were developed almost spontaneously.
The emergence and development of early forms of polyphony in professional European music of the 15th century was based on a balance between written and improvisational tendencies. Essentially, all written polyphonic forms used by medieval authors originated from collective improvisation. At this time, a form of improvised polyphony, the so-called foburdon, became widespread in Europe. This is essentially a kind of mixed form, where the extreme voices were composed and the middle one was improvised. But in the 15th century, another principle of improvised polyphony appeared - imitation ...
In the Renaissance of the XVI-XVII centuries, the so-called spontaneous creativity was highly valued. Improvisation was no longer equated with some uncontrollable element, but required high skill, constant improvement, universal knowledge, abilities for structural thinking and possession of a whole system of techniques, that is, a real school. The art of improvisation itself was also universal, covering not only music, but also poetry and dramatic art. From the maestro (as the musician or poet-improviser was called) they did not demand the repetition of a memorized and specially prepared work, but the skill of improvisation, that is, always introducing something new. Not just a memory, but a virtuoso ability to create every minute. At this time, special schools of improvisers were created, where the teacher himself had to master this art in practice. The technique of improvisation at this time reaches a high degree of professional development and includes several varieties.
The first is the transformation of one tune into a polyphonic piece (vertical line). Now it is expressed in the harmonic thinking of the modern musician-improviser.
Another variation is the variation of new motives and phrases that transform the melodic line (horizontal line). This is now called linear improvisation.
Renaissance instrumental music puts forward an additional variety - "free" improvisation. This is already the texture-motor aspect of improvisation, leading to the first independent forms of prelude, toccata, etc. Now it would be called spontaneous improvisation, but on a well-defined basis.
Another variety of passage, ornamentus, or diminuetion, is developing - ornamental models of improvisation, i.e. improvised decorations. Now it would be called paraphrase improvisation, not exactly, but still ...
The next stage in the development of musical culture (XVIII-XIX centuries) was the process of excluding improvisation from performing arts. The art of improvisation becomes the lot of individual performing composers (organists, pianists, violinists…).
So that's what happened. Such is the story.
Before returning to the 20th century, to the century of the birth, formation and development of jazz, I would like to understand improvisation itself, but now, as a kind of internal process of musical performance.

So.
Here is one of the options for the point of view on the process of improvisation itself.
Improvisation is based on certain types of memory. The improviser creates musical matter from some ready-made blocks, once remembered musical segments. The improviser manipulates these blocks, combining them like a mosaic. The smaller the block, the more beautiful the mosaic, the more original its coloration and the higher the artistic image of the canvas itself. This process is based on the regulatory will and taste of the performer. Improvisation is fixed in memory as a memorable musical event, the value of which is not only in intonational quality, but in its uniqueness. Models (tonemes), turns that arose during this musical act are collected, cataloged in the memory of the improviser himself. This lava of improvisational heat gradually hardens and can be contemplated and improved. Therefore, in the compositional dictionary of European music, perhaps, there is not a single phrase that was not once found in the process of improvisation. As early as 1753, in the work “The Experience of the Correct Way of Playing the Clavier”, a methodology for teaching the technique of improvisation was demonstrated. Individual improvisation has always required thorough preparation - school. Improvisers were highly valued in those days. Handel often improvised as he performed. Beethoven always prepared in advance for his public improvisations. The young Weber systematically practiced the technique of improvisation under the supervision of Abbe Vogler. Each major musician developed his own method of mastering the improvisational art. This was connected with individual performing and composing techniques and represented an awareness of one's own playing technique. A student who knows how to improvise will find in himself a special creative initiative in his attitude to music, a developed sense of form, style, and a tenacious memory. Of course, the phenomenon of improvisation has raised many scientific problems, since a certain historical gap in this area has made itself felt. Of particular interest are studies of the psychological and social aspects of improvisation, the development of problems in the theory of intuition, the creation of a manual on improvised counterpoint, diminuetions, a more detailed and developed school of rhythm, harmony; it is necessary to study the relationship of memory to accidents, the polystylistics of improvisation, etc. But the process has started and is going well.

Let's summarize.
In early jazz we have such concepts as rhythm, harmony, melody, improvisation… These concepts have purely European roots, as I have outlined above. Instruments in early jazz: brass, piano (or banjo), double bass, percussion. These are European instruments, not counting, perhaps, the banjo and the drum kit, which developed and developed over time, and later the saxophone appeared. What has already changed in modern jazz? The base has remained the same. In musical terms, jazz has developed and lives polystylistics. An electric guitar was added to the instruments (by the way, in 1936), later a bass guitar, keyboards (synthesizers), various instruments of a symphony orchestra and ethnic instruments of different nations were added.
And yet jazz is a kind of completely new substance, it is a new unique art born in the 20th century.
What is it connected with?
But before we turn to the musicians themselves, without whom this direction would naturally not exist in modern musical culture, I want to analyze a little the very musical fabric of jazz.
How did jazz begin to differ from the entire musical culture in the late 19th and early 20th centuries? Here we must understand that the infrastructure of academic music in America was insufficient and underdeveloped for many reasons. This is where everything just started. The filling of the vacuum of musical culture was naturally replenished by the ethnic musical cultures of the peoples inhabiting this country. And, especially since everything is mixed up here.
1. Naturally, the folklore styles of different peoples personified in most cases the so-called small forms. These were practically songs and instrumental pieces, most of all of a dance character.
2. Further — minimization of tools. If the cities still had musical instruments: piano, double bass, wind instruments, violins, European percussion instruments, then country instruments were: harmonica, some small percussion: bongos, maracas, maybe even a kind of rural violin ...
3. The style of music, first of all, personified a certain symbiosis of ethnic song and dance trends of non-European and European cultures. This was expressed, first of all, by the introduction of peculiar elements characteristic of the musical cultures of different peoples into the musical fabric of the same songs, or dance pieces. Moreover, social roots also began to influence the musical fabric of the emerging new musical art. It all came from life itself, from its way of life, social and economic base ... Also, rural (country) music had a great influence on urban musical culture and vice versa.
4. And of course, since we are talking about the fusion of ethnic musical cultures, then, first of all, folk music has always developed as an oral tradition, that is, through the transfer "from ear to ear" and this certainly had an impact on the formation and development of improvisational skills of the musicians of that time. The revival of this powerful layer of musical culture (improvisation) began, as a kind of base for a master school for the formation and development of virtuoso performing and composing skills of young musicians performing this music.
Thus, the emerging unique musical culture, later called jazz, on the threshold of the 20th century turned out to be a kind of synthesis of the ethnic cultures of the peoples inhabiting America. Naturally, there could be no talk of any classical (academic) music at the beginning of the formation of jazz. Although the instrumental music of the early reg-times can be loosely described as some small instrumental pieces for the piano, standing close to the academic areas of piano music, but of a completely “special” musical warehouse. I would not like to repeat myself about the influence of such currents as country / end / western and early blues on the formation of jazz. A huge number of works have been written and rewritten about all this ... It's about something else. Jazz, as a musical art, turned out to be an absolutely new means of transferring musical information coming from Man of the Century and to Man of the Century. Jazz gave rise to a certain substance that continued its life in rock music. I want to emphasize that this is not about the attitude to rock music, as the music of some hairy, dirty, wild and uneducated drug addicts, but as a huge layer of musical culture of the second half of the 20th century, which created a large number of musical masterpieces. So, jazz has completely changed the general concept of performance and perception of music. Everything seems to be the same. It seems that nothing special has been invented. But everything has changed. I don't want to talk about it much. Put next to the academic (classical) composition of the ensemble and the jazz composition, and then the rock group. There seem to be the same number of musicians, but how strikingly everything is different. What happened?
But something happened... All the ongoing processes in the formation of a new model of musical art focused on people. As in other things and much on this earth.
The social roots of young America developed unevenly. It was a kind of harness of social and political contradictions that we could not even survive for a minute in old Europe. They wouldn't even be there. For the young new state, in which the slave system still existed, and Africans were slaves, the basis was in a rising economy. Everything was thrown at its development. Many people were addicted to her. And yet people are still people. No matter what shocks swept over their heads, no matter what difficulties, crimes and violence they passed through themselves, the foundation of the Man of the Age was preserved - his soul. After all, what is interesting is that when America was being built and getting rich, there were also many Chinese in the dirtiest jobs, but the influence of the Chinese on the birth of jazz is something little noticeable, because they, politically, were relatively free.
Whether on the ranch or in the cities, people developed a kind of awareness of the division of people into owners and workers on the basis of the economy, this model basically exists to this day. Although there is also a second layer - these are politicians and their employees - officials. Maybe this is an old model for people, but in America it had to be established. Naturally, the “masters” should be served by “slaves”, and they were already in young America, which, however, persisted for a long time, even when slavery was abolished. Thus, the question of who was supposed to perform the most music for the gentlemen becomes clear.
What follows is even more interesting. Much has been written about this. If somewhere on the ranch, as it were, Africans could be preserved in their hereditary form, but in the cities, the process of assimilation with the white population naturally went on. This created what we have today - the so-called Creoles or American blacks. More and more interesting. Assimilation creates an amazing world that we now call Latin American. To them is added what ethnographers call the Afro-Cuban population. These are the origins that today have a huge impact on jazz and not only on jazz. Yes. It can be said that many African musical-ethnic components were and still exist in jazz. Yes, we can say that many of the first jazz stars were Creoles, i.e. American blacks mixed with whites. But who can calculate how much other European ethno-musical sources have influenced the jazz component: French, English, Spanish, etc.? Or, how did the musical origins of other non-European peoples influence the component of jazz? It seems to be forgotten, but in vain. I have already told about the European musical origins of jazz, and here, as it were, everything is already clear. But it is not clear why we somehow got used to the fact that it was the Africans who “invented” jazz?! Maybe I'm wrong. Maybe no one is used to it. But somehow it so happened that the black population of America is associated with jazz. This is not entirely true. And even, not at all.
They will reproach me, but why divide who was the first and how jazz was played?
There is only one objection - after all, the Japanese, as karate-do fighters, are naturally strong, but many fighters in the world are no weaker either.
But this is not a fight or a fight.
After all, Basie Smith, and Louis Armstrong, and Duke Ellington are leading jazz musicians, but also Gene Krupa, Benny Goodman, George Gershwin - after all, too. Further. Oscar Peterson, Charlie Parker, John Coltrane, but also Bill Evans, Chick Corea, Randy and Michael Brecker... But that's not a comparison. The comparison is not appropriate here. The thing is, who divided jazz into black and white? For me, jazz is a new unique art of the 20th century, born in America, or rather in the USA and belonging to the entire universe. It's not anyone's property. This is the property of the entire earthly world. Just like rock music. Whose property is rock music? Does it sound funny?
When you live in this world, many things are revealed differently. You can look at your feet, you can look at the stars, or you can look this way and that.
There is and will be freedom of choice.

Free will and awareness of the universal harmony.
And how much harmony in jazz!

Rhythm is energy and movement.
And what an extraordinary, cosmic rhythm in jazz!

Thought is the engine of development. Melody is thought. Thought is infinite and immortal.
And what an exquisite melody in jazz!

Creativity is the Universal flow that leads the Man of the Age to immortality.
And how much creativity in jazz!

Once, someone asked me:
Is jazz really music?
I was so shocked that I couldn't even answer. Time flew by. Life has changed, people have changed...
And now for the third year I begin lectures on the course of jazz improvisation with the words:
— Jazz is a unique phenomenon of musical art…

Sandarova Tatyana Fedorovna
Position: music teacher
Educational institution: MBOU "Zubovo-Polyanskaya Gymnasium"
Locality: Republic of Mordovia Zubova Polyana
Material name: Methodical development
Topic: Jazz is the art of the 20th century.
Publication date: 24.03.2016
Chapter: secondary education

Lesson name:
"The hero of our era is jazz."
Lesson summary on GEF. Music

Technological map of the lesson

Thing:
Music. Class 6 "b".
Textbook (UMK):
E.D. Kritskaya "Music" Grade 6.
Lesson topic:
Jazz is the art of the 20th century.
Lesson type:
Combined.
Equipment:
Computer.
The purpose of the lesson:
To acquaint with one of the modern musical trends of the 20th century - jazz.
Learning outcomes:

Subject:
To acquaint with the history of jazz, the origins of jazz, the characteristic features of jazz music.
Personal:
To educate and instill aesthetic taste in students, love for jazz music. Raising a positive attitude towards art.
Metasubject:
The ability to conduct educational cooperation in the classroom with a teacher, classmates in a group and team. Ability to work with text, highlight the main thing. Improve oral communication skills, text analysis skills. Development of listening and understanding skills of a piece of music.
Universal learning activities:

Regulatory:
Set a learning task. Correctly format and keep notes in a notebook. Plan your activities.
General education:
Search for the necessary information. Write a summary of the speech.
Brain teaser:
Formulate conclusions. Highlight the main thing.
Communicative:
Listen to each other. To have a dialog. Perform in front of an audience. Briefly state your thoughts. Ask clarifying questions.
Lesson structure:
1. Organizational stage. 2. Update. Goal setting and motivation. 3. Primary assimilation of educational material. 4. Awareness and comprehension of educational material. 5. Consolidation of educational material. 6. Summing up. Reflection.
During the classes

I. Organizational stage.

Slide 1. Welcome

Let there be a joyful meeting! In such an acquaintance, friendship is the essence. We are starting our benefit performance. As they say, good luck!
II. Actualization. Goal setting and motivation.

Slide 2. Jazz is the hero of our era
Today our lesson is dedicated to one famous celebrity. Who is this mysterious guest? What country did you come from? What is his character? Would he like to be friends with us? For us, this is still a mystery. Perhaps music will help you answer all these questions. the song “Nakhodka” by A. Yermolov sounds to the words of A. Bochkovskaya. Who guessed which hero came to us? (Jazz, because the music sounded very rhythmic, bright, a little unusual.) Today we will talk with you about an amazing musical style - Jazz. Jazz is a real hero of his time! We will find out where and when jazz appeared, get acquainted with its characteristic features, listen to music performed by the best jazz musicians and try to sing and play jazz ourselves.
Slide 3. Epigraph to the lesson
What is jazz? Louis Armstrong, one of the most popular musicians of the last century, said: “If you don’t stamp your foot while listening to this music, you will never understand what jazz is.”
Slide 4. Lesson topic: “Jazz is the art of the twentieth century”
The history of jazz is part of the history of the 20th century. In November 2011, the UNESCO General Conference announced the introduction of a new date in the calendar - April 30 - International Jazz Day. The founders of the holiday believe that jazz is a force that promotes "peace, unity, dialogue and expansion of contacts between people." “For a century now, jazz - the universal language of passion and philanthropy - has united people, despite their different cultural, religious and national affiliations,” says the message of UNESCO Director-General Irina Bokova and UNESCO Goodwill Ambassador, Rector of the Jazz Institute. Thelonious Monk by Herbie Hancock.
III. Primary assimilation of educational material.

Slide 5. Let's look into the dictionaries ... The definition of "Jazz"
Jazz originated in the late 19th and early 20th centuries in the United States as a synthesis of African and European cultures, and to this day remains a unique form of musical art that unites races and nationalities and blurs the boundaries between people and states. The word Jazz was first mentioned in the Los Angeles Times on April 2, 1912. To better imagine the image of Jazz, let's try to trace the history of his life. Fast forward to the beginning of the 20th century...
Slide 6. Let's look into the dictionaries ... The definition of "Jazz band"
At that time, both the New and the Old World were bubbling with talk about some kind of jazz band. Let's listen?
Prepared students show a small skit. Everyone - both friends and enemies of Jazz agreed on one thing: they wanted to know where this scandalous person came from.
Slide 7. History of occurrence. The first jazz bands
And Jazz was at that time about 10 years old, no more. He was born in the south of the United States and lovingly called his land Dixieland. Especially fondly remembered New Orleans - the city where the first orchestras appeared, consisting of 5-10 musicians who called jazz, or jazz bands. In New Orleans, as well as throughout the South of America, there lived many blacks, former slaves from the plantations. The Negroes lived hard, but had fun with passion and inspiration. By the way, it was in New Orleans that the first jazz record was recorded. The recording belonged to the famous "Original Dixieland Jazz Band". Dixielands were also called jazz ensembles consisting of white performers imitating traditional black jazz bands.
Slide 8. The first jazz bands
Small bands drove around in trucks. Sometimes it happened that they met in the same square, in the same city. Then real musical battles were arranged. The assembled crowd judged. But do you know what fate awaited the defeated orchestra?.. With noisy fun, the crowd tied one truck to another - the losers dragged the winners. This is the kind of street education our Jazz received in childhood.
Slide 9. The first jazz bands
The tomboy from the street grew up, and at about 15 years old he went from his native city to see people and show himself. And besides, it's time to think about making money.
Slide 10. Jazz fever
In many cities of America, our hero found shelter, food, and admirers. He got there along the Mississippi River in an old paddle steamer. At the beginning of the 20th century, New Orleans orchestras performed on such pleasure steamers, the music of which became the most attractive entertainment for passengers during river tours. But most of the work for the Jazz was in Chicago and New York. The work came to his liking - to entertain the public in clubs and entertainment establishments with music and dance. So passed the youth of Jazz ...
Slide 11. World popularity
A few years later, Jazz already had worldwide fame. Thanks to the rapid development of recording, our hero has gained immense popularity. Jazz sounded both in America and in Europe. And everywhere he managed to make true friends. Now jazz was played not only by black musicians, but also by Europeans.
Slide 12. Jazz in the USSR
Jazz was also loved in our country. In the 20s and 30s we had our own jazz celebrities. Among them - Leonid Osipovich Utyosov and his orchestra "Tea Jazz", the first performance of which the audience saw on March 8, 1929 in Leningrad.
Slide 13
Together with his theatrical jazz orchestra, Utyosov starred in the musical comedy "Merry Fellows", which premiered in December 1934.
Watching a video fragment from the jazz comedy "Merry Fellows". So, we already know in which country jazz appeared (in the USA), which city is considered the birthplace of jazz (New Orleans), what the orchestras that performed jazz were called (jazz bands, dixielands).
Slide 14. Jazz basics
When Jazz became quite famous, everyone around began to ask where he inherited his talents from. And they learned - from the serious uncle Spiritual, the sad uncle Blues, the cheerful uncle Ragtime.
Slide 15. Spiritual
Spiritual in translation from English means spiritual, church. Negro spiritual - a spiritual choral hymn, often composed on biblical stories and texts. Hymns were sung in chorus by the plantation slaves, imitating the spiritual hymns of the white settlers. This is a genre of religious singing and dancing, the performance of which is accompanied by clapping, stomping and dance movements. Spiritual is performed collectively, expressing the ideas and aspirations of the entire community. Now we will hear the voice of the great Louis Armstrong. Listen carefully to a fragment of the work and determine the nature of the music, its features. (To help students - “Dictionary of Aesthetic Emotions”, Listening to a fragment of Louis Armstrong’s “Let my people go!” What character traits did Mr. Jazz inherit from Spiritual? (Importance, pride, courtesy, religiosity, solemnity. Music was first performed by a soloist, and then chorus They sang without accompaniment, and then the accompaniment appeared.)
Slide 16. Blues
At the end of the 19th century, other songs appeared - songs of complaint, songs of protest. They became known as the blues. The blues speaks of need, of hard work, of disappointed hopes. Blues players usually accompanied themselves on some homemade instrument. For example, they adapted the neck and strings to the old box. Only later were they able to buy real guitars for themselves. Unlike spiritual, blues is a solo-song genre. The blues has it all - drama, conflict, satire, and humor. Let's listen to Louis Armstrong's "Western Country Blues" and try to determine what character traits jazz inherited from the blues. Listening to a fragment of Louis Armstrong's "Western Outskirts Blues". This is what L. Armstrong sang about: “The blues fills me from head to toe, I am sad today, I am full of gloomy forebodings when I go to the western outskirts, where so much suffering awaits me ...”. How did this music sound? (The music was thoughtful, kind, smooth. It can be said that jazz inherited romance, dreaminess, tenderness from the blues.)
Slide 17. Ragtime
Ragtime has a completely different character. Ragtime (ragged rhythm) - dance music of a special rhythmic warehouse. The advent of ragtime was preceded by the popularity of the cake walk and two-step dances. In these dances, the Negroes parodied their masters, imitating their manners and gait. At the end, the actors were rewarded with a small piece of cake from the hands of the “owner”.
Slide 18. Scott Joplin

Now you will hear the music of the first king of ragtime, Scott Joplin, an African-American composer and pianist. Listening to S.Joplin's ragtime "Variety Artist".
IV. Awareness and comprehension of educational material.
I invite you guys to participate in the performance of this work. In front of you are instruments - tambourines, drums, maracas (students take instruments and are divided into 3 groups). Let's try, improvising, to create a rhythmic accompaniment to this work. Please suggest a rhythmic pattern that only your group of instruments will perform. (Students suggest that the group of drums play on a strong beat, the group of tambourines - on a weak one, and the maracas - to sound constantly). Listening I see that everyone enjoyed it, both musicians and listeners! Indeed, jazz music does not leave anyone indifferent, it impresses with its originality, beauty and originality. Now we can say what character traits did Jazz inherit from Ragtime? (Cheerful, cheerful and bright character.) Spirituals, blues, ragtimes are not jazz yet, but only approaches to it. We will talk about this next time.
Slide 19. Features of jazz music
When Jazz became quite famous, a real hero of the day (since the 30s of the 20th century), many tried to capture his unusual appearance. “It looks like it,” people agreed, looking at his portraits, “but something very important cannot be “grabbed” in any way. In life, he is much more interesting. Try to convey what and how he says, his look, his gait. Maybe then you will understand what is the secret of this amazing personality.” So, let's try to draw a portrait of Jazz. What special character traits does he have? (In an unusual rhythm.) Quite right. Our Mr. Jazz is a very complex nature - for all his constancy (regular pulsation - “beat”), he is completely unpredictable (deviations from pulsation - “swing”, i.e. sound in motion). When you and I played ragtime, you composed the rhythmic accompaniment right in the lesson, and some guys composed it right while the music was playing, that is ... (improvised.) Improvisation is one of the most important distinguishing features of our Mr. Jazz. And, of course, emotionality is something that cannot be taken away from our Jazz! Of course, you understand that only a true professional can play jazz freely, emotionally and uninhibited. Jazz is always an ensemble of soloists, unlike other orchestras. What instruments are included in a jazz orchestra? (children's answers)
Slide 20. Composition of a jazz orchestra.
As you correctly noted, many of the instruments of a symphony orchestra are part of jazz. But unlike a symphony, a jazz orchestra does not have a permanent composition of instruments.
V. Consolidation of educational material.

So, we got acquainted with the origins of jazz, its distinctive features. Let's try to define this musical style ourselves. (Jazz is a fusion of European and African music with unusual melodies and rhythms. Jazz is music based on improvisation and rhythm. Jazz is the music of virtuosos. Jazz is a special original music that is listened to all over the world.)
Slide 21. Let's look at the dictionaries ...
Thank you. And I open the “Explanatory Dictionary of the Russian Language”, because I want to read you the definition given by S.I. Ozhegov: “JAZZ, -a, m. 1. Original improvisational music with uneven rhythm and tempo, combining features of European and African traditions. ...”. As you can see, you got it right, well done. But what a "capacious" definition was given to jazz music in 1917 - the American magazine Literary Digest explained that "jazz is music that makes people shake, jump and writhe." Well, they are right in their own way, because thanks to jazz, dances such as the foxtrot, twist, boogie-woogie, Charleston, rock and roll, etc. appeared in the world. By the way, rock and roll can sound right in the classroom now.
Slide 22
Performance by the whole class of O. Khromushin's song “Rock and Roll Lesson” So, what musical means helped you to determine the style of this song? (The song is written in a jazz style. The rhythm is peculiar, there are syncopations, an emphasis on a weak beat, a dance character, the addition of claps and clicks.)
Slide 23. Famous jazz performers
Time has passed and Jazz has matured. Jazz has come a long way since its inception in New Orleans. He was tired of the fame of a restless merry fellow and dancer. He wanted to be loved not only in moments of noisy entertainment, to be treated carefully and seriously. The names of outstanding jazz masters are known all over the world. These are Louis Armstrong, Duke Ellington, Benny Goodman, singer Ella Fitzgerald and others.
Slide 24
Now you will hear the voice of the "first lady of jazz" - American singer Ella Fitzgerald. Her velvety voice captivates with its beauty. What genre is the song in? Listening to a fragment of "Summertime" from the opera "Porgy and Bess" by J. Gershwin. How did this music sound? (The music is very calm, gentle, kind, soft, bewitching. This is blues.) What instrument was the soloist? (The trumpet is a brass instrument.)
Slide 25
Today we have already heard the name of this musician more than once. They said about him: “This is not your pipe, but you are at the pipe.” Indeed, Louis Armstrong played the trumpet inimitably. His trumpet was capable of expressing everything and could sing like a human voice.
Slide 26
The greatest jazz clarinetist of all time, Benny Goodman earned his title of "King of Swing" for his impeccable playing, becoming the first jazzman to perform classical music.

Slide 27. Duke Ellington - jazz pianist
Edward Kennedy "Duke" Ellington - Negro pianist, composer, bandleader, arranger. Nickname "Duke" (Duke) Ellington received from friends because of his love for smart clothes. With his large jazz orchestra, he traveled all over the world, and in 1971 Ellington visited our country on tour.
VI. Summing up the lesson. Reflection.

Slide 28. Jazz - light or serious music?
Until now, there are disputes about what kind of music - light or serious - can jazz be attributed to? At the lesson, different jazz pieces sounded - different both in mood and in content. What is your opinion? (Students express their opinions) Considering your answers, we will conclude: jazz is a musical style in which the spheres of music interpenetrate.
Slides 29-30. A moment of creativity
And now I invite you to summarize the impressions from the lesson on the topic “Jazz - the art of the twentieth century” and work in groups. Independent work in groups.  Working with handouts,  The teacher listens to the answers of students, evaluates the work of groups and each for the lesson.
Slide 31
Jazz is the same age as the 20th century and one of its biggest celebrities, he is the hero of our era. He is over 100 years old. By human standards - an old man. And musically, his age is a mere trifle. After all, a lot of things in music live for centuries and even millennia. I hope that today you have found a good friend in the face of Mr. Jazz, who will delight you in the happy moments of your life and support you in difficult times. See you soon!
Slide 32. Thank you for your attention.

Literature.
1. Konen V. "The Birth of Jazz". Moscow, “Soviet Composer”, 1990. 2. Mikheeva L. “Musical Dictionary in Stories”. Moscow, "Soviet Composer", 1984. 3. Finkelstein E. "Music from A to Z". Publishing house "Composer", St. Petersburg, 1992