JAZZ ELEMENTS IN SERIOUS MUSIC

JAZZ ELEMENTS IN SERIOUS MUSIC

Judy Adams

Unquestionably, the most significant contribution made to music by the United States in the 20th century lies in the field of popular music. Its most outstanding characteristics greatly influenced the “between the war” period of European music.

Of the first importance in ragtime and jazz is the strong evidence of syncopation. (Which is the Shifting of the. normal accent, usually by stressing the normally unaccented beats.) There are two main type of syncopated rhythms the obvious off beat accent.

And a , type of polyphonic rhythm that superimposes -a melodic unit of three units over a rhythmic background of four units.

Igor Stravinsky (born 1882) and Arnold Schoenberg (1874-1951) wrote similar rhythms before 1912 along with many “serious” composers that followed them.

The second characteristic is the modifications of the major scale by the use of “blue notes”. The flatting of the third ahd seventh tones of the scale used mostly in blues become of great interest to European composers who were desperately seeking new ideas in scale patterns.

The third character of jazz , which was to influence. 20th century music, was its timbie (which is the characteristic quality of a sound, independent * of pitch and loudness). Although the instruments of the original ragtime bands usually included comet, piano, tuba, trombone andt)anjo — but it was not standardized; and the choice of instruments differed from group to group. Composers of the early 20th century become attracted to these raucous non-blending combination mainly because they were reacting against the lush, flowing sounds of the impressionistic period.

A fourth element of probably the greatest importance but which was not so influential to classical music was the use of improvization — unplannned characteristic performances. This technique or “art” was neglected for some time. When Mozart or Beethoven performed their own compositions they were expected to improvise on a certain theme — but this was over one hundred years previous to the time being discussed. The fact that in true jaZz each ^performer is actually a soloist Who plays hi£ own version of the piece gave way to new opportunity for musicift invention and ornamentation. This is definitely one of, the most important aspects of jazz.

American popular music was introduced to Europe by the minstrel shows that toured the continent after the Civil War and later by jazz bands just after World War I and finally by records.

Among the first European composers to move the influences were Debussy (“Galliway’s Cakewalk”, 1908) and “Minstrels” 1910). After World War I the popularity of ragtime was demonstrated in Erik Saties “Ragtime du Paquebot” from “Parade” (1917) Debussy called Satie “a sweet medieval musician who wandered into this century”. He made a living playing piano in the bars of Montmartre and drank with Duchamp, Mon Ray, and other Dadaists. He wrote breezy little avant-garde composition with a few whimsical titles like “War Song of the King of Bears” and the “Waltz of the Chocolate *. with Almonds”. Even with their unusual harmonies, his compositions are quite fresh after fifty years. You can find these' pieces of a new album: SATIE: PIANO MUSIC VOL. 3 (Angel). Much of the credit for the flamboyant disposition of the record goes to Aldo Cicioline who plays with a relazed mostly that the listener probably won’t realize the technical skill Satie demands.

During the twenties the jazz age, jazzidioms become even more frequently used by composers. Examples are Milhauds “La Criation du Monde” (1923), Hindemeths “1922 Suite” for piano and even a jazz opera “Jonny Spielt Auf (1925-26) by, Krenck.

George Gershwin’s career as a composer is quite dissimilar from other composers mentioned. A, talented composer of popular music he was ambitious enough to combine the jazz idioms he knew so 1 well in the more intricate forms of “serious” music. His “Rhapsody in Blue”, his opera “Porgy and Bess” are popular throughout the world.

In order to understand many titles of “classical” music one must understand , musical terminology. Therefore, I have compiled a list of the more frequently used terms. Even though there titles aren’t used in pop music, the forms are the same.

The following four terms are tempo markings, which indicate how fast or slow a piece should be played.

Adagio — music played in a slow, leisurely manner.

Andante — moderately slow and even.

Minuet — dance like, in 3/4 time. Allegro — fast.

Presto — very fast;

The following, are all different forms of compositions.

Concerto — Piece consisting of three movements (Fast, Slow, Fast) for a solo instrument and orchestra. String Quartet — 2 violins, viola, cello - playing a piece consisting of three movements (Fast, Slow, Fast).

Symphony —. work usually consisting of four movements (Fast, Slow, Minuet, Fast) for' an entire orchestra.

Fugue — a polyphonic piece based on one, two, or three themes and each treated as a round.

Rhapsody — an instrumental composition irregular in form and suggestive of improvization. Polanaise — a slow dance of Polish origin in triple meter (waltz - like). Sonata — an extended instrumental piece -usually in three or four movements (Fast, Slow, Fast).

Cantata — chorale.

Opera — an extended, dramatic composition in which all parts are sung to an instrumental accompaniment.

Operetta — short' opera usually light and amusing.

Suite — an ordered series of instrumental dances in the same or related keys usually preceded by a prelude.

Overture — an orchestral piece forming the prelude or intro to an opera, oratorio, etc. -Prelude — a , relatively short in de pen,den t \,i n strumental composition free in form and of an improvised, character.