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Jazz Music

By: Biamatere Izbeograda Jazz developed in the latter part of the 19th century from black work songs, field shouts, sorrow songs, hymns, and spirituals whose harmonic, rhythmic, and melodic elements were predominantly African. Because of its spontaneous, emotional, and improvisational character, and because it is basically of black origin and association, jazz has to some extent not been accorded the degree of recognition it deserves. European audiences have often been more receptive to jazz, and thus many American jazz musicians have become expatriates.

At the outset, jazz was slow to win acceptance by the general public, not only because of its cultural origin, but also because it tended to suggest loose morals and low social status. However, jazz gained a wide audience when white orchestras adapted or imitated it, and became legitimate entertainment in the late 1930s when Benny Goodman led racially mixed

groups in concerts at Carnegie Hall. Show tunes became common vehicles for performance, and, while the results were exquisite, rhythmic and harmonic developments were impeded until the mid-1940s.

Jazz is generally thought to have begun in New Orleans, spreading to Chicago, Kansas City, New York City, and the West Coast. The blues, vocal and instrumental, was and is a vital component of jazz, which includes, roughly in order of appearance: ragtime; New Orleans or

Dixieland jazz; swing; bop, or bebop; progressive, or cool, jazz; neo-bop, or hard-bop; third stream; mainstream modern; Latin-jazz; jazz-rock; and avant-garde or free jazz.

Musical form, often improvisational, developed by African Americans and influenced by both European harmonic structure and African rhythms. Though its specific origins are not known, the music developed principally as an amalgam in the late-19th- and early 20th-century musical culture of New Orleans. Elements of the blues and ragtime in particular combined to

form harmonic and rhythmic structures upon which to improvise. Social functions of music played a role in this convergence: whether for dancing or marching, celebration or ceremony, music was tailored to suit the occasion. Instrumental technique combined Western tonal values with emulation of the human voice. Emerging from the collective routines of New

Orleans jazz (see Dixieland), trumpeter Louis Armstrong became the first great soloist in jazz; the music thereafter became primarily a vehicle for profoundly personal expression through improvisation and composition. Elaboration of the role of the soloist in both small and large ensembles occurred during the swing era (c. 1930–45), the music of pianist and

bandleader Duke Ellington in particular demonstrating the combination of composed and improvised elements. In the mid-1940s saxophonist Charlie Parker pioneered the technical complexities of bebop as an outgrowth of the refinement of swing: his extremes of tempo and harmonic sophistication challenged both performer and listener. The trumpeter Miles Davis

led groups that established the relaxed aesthetic and lyrical phrasing that came to be known as cool jazz in the 1950s, later incorporating modal and electronic elements. Saxophonist John Coltrane's music explored many of the directions jazz would take in the 1960s, including the extension of bebop's chord progressions and experimental free improvisation.

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Amy Kim is an author of many articles from Evolution Catalog mainly about jazz music, smooth jazz artists and jazz related themes . Submitted with Article Distributor.

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