Âm nhạc - Chapter 9: Jazz tenth edition

JazzTenth EditionChapter 9PowerPointbySharon Ann Toman, 2004Cool/Third StreamCool style of playing is different from the complexities of “Bop”The tempos are relaxedVirtuosity gave way to instrument colors and a reserved tonal styleSize of the performance group also expanded 2Chapter 9 - Cool/Third StreamCool/Third StreamPlayers took on an attitude of emotional detachment that helped define what is meant to be “cool”Cool bands were to perform in more intimate settings In the cool style jazz found its own chamber ensembles3Chapter 9 - Cool/Third StreamCool/Third StreamInstruments not common in jazz were now going to come into prominence (e.g. cello)Cool players were often conservatory trainedThe tonal sonorities of the cool style could be compared to pastel colors unlike Bop which could be compared to fiery red colors4Chapter 9 - Cool/Third StreamCool/Third StreamCool music contained:a delicate attackLittle or no vibratoUse of the middle register of the instrument rather than the extremeRelaxed sound5Chapter 9 - Cool/Third StreamThe Sounds of CoolThe Cool band usually consisted of 3 to 8 playersFlute, French horn, oboe, flugelhorn, and cello became jazz instruments6Chapter 9 - Cool/Third StreamThe Sounds of CoolCool players were not confined to 4/4 or 2/4 meters.new meters were added like 3/4, 5/4, 9/4Use of polymeters (simultaneous use of several meters)Use of classical form in jazz (thus categorizing it as Third-Stream music)School of jazz moved closer to classical music adopting such forms as rondo and fugues7Chapter 9 - Cool/Third StreamThe Sounds of CoolSome people felted that the cool musician were bored or arrogant or coldOthers felt that the cool players were trying to be creative8Chapter 9 - Cool/Third StreamWoody Herman (1913-1987)SaxophonistBandleaderHired the best musicians and kept changing musicians to keep the band up-to-date9Chapter 9 - Cool/Third StreamClaude Thornhill (1909-1965)PianistOrchestra leaderCredited with being the progenitor of cool jazzStudied at the Cincinnati Conservatory and the Curtis Institute in PhiladelphiaFormed his own 9 man orchestra consisting of such great names as:Miles Davis, Gerry Mulligan, and Gil Evans10Chapter 9 - Cool/Third StreamMiles Davis (1926-1991)Trumpet playerComposer/arrangerInnovative band leaderImportant in the development of improvisational techniques incorporating modes rather than the standard chord changesDavis’s tone is straight with very little vibrato, long tonesepitomized the cool attitude© AP/Wide World Photos.11Chapter 9 - Cool/Third StreamGil Evans (1912-1988)Arranger, composer, pianist, and bandleaderHis arrangements made use of string instrument as as well as nontraditional jazz instrumentsInfluenced by Duke EllingtonThe music of cool was much associated with the arranger (Gil Evans)12Chapter 9 - Cool/Third StreamLennie Tristano (1919-1978)Chicago born pianistComposer/arrangerBlind from birthEducated at the Chicago American Conservatory of MusicHis music stressed the importance of melodic structure over emotional expressionHe showed interest in multi-track recordingsExperiments with jazz rock fusion13Chapter 9 - Cool/Third StreamStan Getz (1927-1991)Tenor saxophonistInfluenced by Lester YoungPlayed with a rich and pure tonePlayed with much self control and subtletyDuring the 1950’s – he was one of the most popular jazz musiciansHe helped make bossa nova (a mixture of jazz and samba more popular)14Chapter 9 - Cool/Third StreamWest Coast JazzDeveloped during the late 1940’sA cool style was developing on the West CoastA subcategory of cool jazz..West Coast jazz shares similar musical attributes, employing light tone color and a softer instrumental texture15Chapter 9 - Cool/Third StreamWest Coast JazzDid not have the same intensity as bopThe music involved less improvisationAnd sounded more reserved in its written-out melodiesOften worked in the tradition of Duke Ellington by writing arrangements with specific players and specific sounds in mind16Chapter 9 - Cool/Third StreamWest Coast JazzWest Coast Jazz musicians often made their living by working in Hollywood studio orchestrasMusic writing style of West Coast Jazz showed an influence of Western Europe 17Chapter 9 - Cool/Third StreamThird StreamIs seen as an extension of the cool compositional styleTime period from around 1959 to the present18Chapter 9 - Cool/Third StreamGunther Schuller (1925- )Scholar, composer, conductor, teacher author, and music publisherStudied flute and hornSchuller coined the term “third stream” in a lectureThus describing a style that is a synthesis of classical music and jazz19Chapter 9 - Cool/Third StreamThird StreamFrom Jazz:Language, gestures, improvisation, and rhythmic driveFrom Classical:Instrumentation (orchestra, string quartet, etc.), forms (fugue, suite, concerto, etc.), and compositional techniques20Chapter 9 - Cool/Third StreamThird StreamMost of the pieces in this style fall into 1 of 4 categories:1. Concerto Grosso typesCombine classical groups (playing composed sections) alternating with jazz groups (playing improvised sections2. Pieces written for classical groups but which borrow heavily from jazz21Chapter 9 - Cool/Third StreamThird Stream3. Pieces written for jazz groups which use forms compositional techniques, and other elements from classical music4. Pieces which are more integrated works in which the 2 idioms (jazz and classical music) merge in instrumentation, performance practice, and techniques22Chapter 9 - Cool/Third StreamConclusionThe blend between Jazz and Classical is not newJazz very existence is dependent on that blend23Chapter 9 - Cool/Third Stream