All About Jazz

Jazz can be very difficult to determine because it stretches from the waltz ragtime to fusion era of the 2000s. Although many efforts have been made to determine from the viewpoint of jazz beyond jazz, such as using the history of European music or African music, jazz critic Joachim Berendt argued that all these efforts are not satisfactory. One way to get around the problem of definition is to define jazz "term" wider. Berendt define jazz as a form of "art music which originated in the United States through the confrontation of blacks with European music", he argues that jazz differs from European music in the jazz that had a "special time, which is defined as 'swing'," " a spontaneity and vitality of musical production in which improvisation plays a role ", and" sonority and expression that mirrors the way the individuality of jazz musicians perform. "
Travis Jackson also proposes a broader definition of jazz that is able to cover the entire era of radically different: he claimed it was the music that includes qualities such as 'swinging', improvising, group interaction, developing an "individual voice, and become 'open' to possibility of different music Krin Gabbard claimed that "jazz is a construct" or category that, while artificial, is still useful to designate "a number of musics with enough general to be understood as part of a coherent tradition".
While jazz may be difficult to define, improvisation is clearly one key element. Early blues are generally structured around patterns of call-and-response of recurrent, common elements in the African American oral tradition. A form of folk music which rose in part from work songs and field hollers of rural Black, early blues was also highly improvisational. These features are fundamental to the nature of jazz. WhilProxy-Connection: keep-alive Cache-Control: max-age = 0
in the elements of European classical music interpretation, ornamentation and accompaniment are sometimes left to the discretion of achievement, the main goal is to play a player like that written composition.
In jazz, however, expert players will interpret a song with a very individual way, never played the exact same composition in the same way twice. Depending on the mood of the players and personal experience, interactions with fellow musicians, or even members of the audience, a jazz musician / player can change the melody, harmonies or time signature at will. European classical music composer media has said. Jazz, however, is often characterized as egalitarian product creativity, interaction and collaboration, placing equal value on the contributions of composers and actors, 'agile weight [ing] the claims of each composer and improvisation'.
In New Orleans and Dixieland jazz, performers took turns playing the melody, while others countermelodies improvisation. With the swing era, big bands come to rely more on arranged music: arrangements whether written or learned by ear and memorized - many early jazz artists can not read music. Individual soloists would improvise within these arrangements. Later, in bebop the focus shifted towards small groups and minimal arrangements; melody (known as the "head") will be stated briefly at the beginning and end parts, but the core of the performance will be a series of improvisations in the middle. Then jazz styles such as jazz capital of leaving strict notion of progress chord, which allows individual musicians to improvise even more freely in the context of a particular scale or mode. avant-garde and free jazz idioms permit, even call, leaving the chords, scales, and rhythmic meters.

There has long been debate in the jazz community over the definition and boundaries of "jazz". Although alteration or transformation of jazz by new influences has often been criticized initially as a humiliation "," Andrew Gilbert argues that jazz has the ability "to absorb and transform influences" from diverse musical styles. While some enthusiasts of certain types of jazz argued for narrower definitions which exclude many types of music also known as the "jazz", jazz musicians themselves are often reluctant to define the music they play. Duke Ellington concluded by saying, "It's all music." Some critics even stated that Ellington music was not jazz because it is set and adjust. On the friend the other hand Ellington twenty solo Earl Hines's "transformative versions" composition Ellington (on Earl Hines Plays Duke Ellington recorded in 1970) described by Ben Ratliff, New York Times critic jazz, like "as a good example of the process of jazz as something out there ".
Commercially-oriented or popular music-influenced forms of jazz have both long been criticized, at least since the emergence of Bop. Traditional jazz enthusiasts have dismissed Bop, the 1970s jazz [era fusion and many others] as a period of decline in the commercial value of music. According to Bruce Johnson, jazz music has always had tension "between commercial music and jazz as an art form" Gilbert notes that. As the idea of ​​a canon of jazz is developing, "past performance" can become "... privileged over special creativity ..." and innovation of artists at the Village Voice. jazz critic Gary Giddins argues that as the creation and dissemination of jazz increasingly institutionalized and dominated by big entertainment companies, jazz is facing "a. .. the future of respectability and acceptance interested dangerous" David Ake. warned that the creation of "norms" in jazz and the establishment of the jazz tradition "may exclude or sideline other newer, avant-garde forms of jazz. Controversies also arise over new forms of contemporary jazz is made outside the United States and depart significantly from the American style in one view they are an important part of the current development of jazz that;. in others they are sometimes criticized as a rejection of the jazz tradition is important.