In this brief survey I do not want to go much into the thorny problems of the origins of jazz, or of whether it is European or African or both. Those questions have been exhaustively dealt with by scores of earlier commentators, without definite unassailable answers ever being produced.
There seem to be as many views on this subject as there are jazz experts ready to expound on them. All that I will say is that to me, jazz does not sound either European or African, but seems to be American in its sonorities, its harmonic language, and its treatment of rhythm. In the same way that America assimilated cultural influences from both Europe and elsewhere to produce a distinctive style in its architecture, its language and its art, so it blended disparate musical elements to produce a quintessentially American music- i.e. what we now call Jazz.
Table of Contents
1. Introduction
2. Why is some music jazzy?
3. The blues scale
4. Jazz harmony and polyphony
5. Influence
6. Jazz and the classical musician
7. The jazz musician
8. Later developments
9. A Personal Postscript
Objectives & Core Themes
This work offers a composer's perspective on the defining characteristics of jazz, exploring its relationship with classical music, rhythmic essence, and its development as a fluid, improvisational art form.
- The essential role of pulse, rhythm, and syncopation in jazz.
- Comparative analysis of jazz and European classical musical structures.
- The significance of improvisation versus the "veneration of the letter" in notation.
- Harmonic evolution and the influence of the blues scale.
- The historical transition of jazz from a controversial style to a recognized art form.
Excerpt from the book
Jazz and the classical musician
The two elements in jazz with which classically trained musicians tend to be uncomfortable are that steady, explicit pulse previously mentioned, and improvisation. The former is often regarded as being too obvious, almost childish in its insistence on tapping out every beat- and yet there seems to be no logical reason why this should be so- indeed some classical music does make the beat explicit: dances like the waltz and polka, certain quick movements like the scherzo in Beethoven’s 9th symphony for example, and most of the music of J.S. Bach in which every beat of an unvarying meter is present in one part or another- most often in the bass.
With improvisation, a more subtle and complex set of inhibitions comes in, which we might term “the veneration of the letter”. Since the rise of detailed notation from about 1750 classical musicians have tended to regard the written symbol as sacrosanct- the composer’s absolute and final decision on what should be played. This corresponds in time with the general rise in all kinds of literacy, including musical literacy, and the consequent valuation of the written symbol above the spoken word- or in music, of notation above improvisation.
Summary of Chapters
1. Introduction: The author presents a personal perspective on jazz as an American musical phenomenon characterized by its unique sonorities and rhythmic treatment.
2. Why is some music jazzy?: This chapter defines the essential rhythmic nature of jazz, emphasizing the role of the steady pulse and syncopation compared to classical music traditions.
3. The blues scale: An analysis of the origins and structure of the blues scale and its function in providing a distinct jazz sonority.
4. Jazz harmony and polyphony: Examines jazz as a harmonic art, noting the progression from standard 19th-century harmonies to more complex, dissonant polyphonic textures.
5. Influence: Discusses the historical reception of jazz, its initial controversy, and its subsequent integration into broader Western musical styles.
6. Jazz and the classical musician: Explores the tension between classically trained musicians and jazz, focusing on the concepts of explicit pulse and the "veneration of the letter" regarding notation.
7. The jazz musician: Highlights the versatility and creative improvisational skills of prominent jazz musicians compared to their classical counterparts.
8. Later developments: Reviews the evolution of jazz after 1960, including its fusion with Latin American and world music genres.
9. A Personal Postscript: A reflection on the fluidity of jazz versus the rigid structure of classical notation, based on the author's personal experience as a music examiner.
Keywords
Jazz, Improvisation, Syncopation, Pulse, Blues Scale, Harmony, Polyphony, Notation, Classical Music, Rhythm Section, Swing, Bebop, Jazz Fusion, Musical Structure, Composition.
Frequently Asked Questions
What is the primary focus of this work?
The work provides a composer's analysis of the fundamental elements that define jazz, distinguishing it from classical music and exploring its technical and creative properties.
Which musical styles are compared throughout the text?
The text frequently contrasts jazz with European classical music, examining their shared foundations and fundamental differences in performance approach.
What is the central research question or core argument?
The author argues that while jazz shares harmonic and structural roots with classical music, its essence lies in the explicit treatment of pulse, syncopation, and the primacy of improvisation over fixed notation.
Which scientific or analytical method does the author employ?
The author uses a qualitative, comparative analysis method, drawing upon musicological observation, historical context, and personal experience as a composer and examiner.
What topics are covered in the main body?
The main body covers the rhythmic essence of jazz, the blues scale, harmonic evolution, the role of improvisation, the influence of jazz on 20th-century music, and the contrast between jazz and classical performance norms.
How would you summarize the work in a few keywords?
Improvisation, Rhythm, Jazz Harmony, Notation, Pulse, and Comparative Musicology are the primary descriptors.
How does the author view the "veneration of the letter" in classical music?
The author identifies this as a barrier for classical musicians, where the written score is treated as sacrosanct, limiting the freedom of expression found in jazz.
What does the author suggest about the future of jazz?
The author notes that jazz has become a diverse field ranging from historical revivals to modern fusions, indicating its ongoing viability as an art form with a vast history to explore.
Is the blues scale considered essential for all jazz music?
The author clarifies that while the blues scale is highly characteristic, it is not strictly required, as modal, major, or chromatic jazz can also produce an authentic jazz flavor.
- Quote paper
- Michael Regan (Author), 2011, The Essence of Jazz - A Composer's View, Munich, GRIN Verlag, https://www.grin.com/document/172301
