After studying this chapter you will be able to understand: Important to jazz are the emphasis on rhythm taken from African music, harmonies taken from European music, melodies added by the improvisation from the American culture, all these elements fuse to make jazz an American music rather than a music solely of the African Americans (who remain its pioneers and innovators).
Jazz Tenth Edition Chapter PowerPoint by Sharon Ann Toman, 2004 © 2005 The McGraw-Hill Companies, Inc All right African and European Influences The basic premise of this chapter is that jazz did not develop from any one musical culture Emphasis is placed on the fact that the rhythmic feeling of jazz came from Africa…but that other aspects of jazz derive from European music Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right African and European Influences Separate traditions…(one white and the other black) Used both musical and cultural traditions to establish this new musical genre Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right African and European Influences One tradition is predominantly literate and reflects that interest in its performance practice Another tradition works through an expressive language typical of the oral tradition Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right African and European Influences The balance of this compositional concern and spontaneous expression was set in motion that ultimately shaped jazz Jazz began with a blending of African and European musical cultures Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Interpretation and Content All musical styles and traditions have an interpretive system of presentation Some presentations cannot always be fully described in terms of the musical elements that make up a performance Jazz as a hybrid of musical traditions, reflects a blend of music interpretations as well as a blend of musical elements Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Interpretation and Content Writing music down is useful as a compositional device but is not as important in a spontaneous improvisation Outside of the musical elements themselves, there is also the expressive context in which the elements are presented Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right African Influences Music was a vital and demonstrative form of express in the life of Africans Music performed a vital role in maintaining the unity of the social group Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right African Influences Music was for a whole community, and everyone participated from the youngest to the oldest Music was used to work, play, and social and religious activities Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right African Influences African slaves brought these traditions to the United States and nurtured them in the woe and hardship of slavery 10 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Minstrels Beginning of the 20th century, traveling minstrel shows were the main form of entertainment for both races These shows featured the top blues singers of the day such as Bessie Smith, Ma Rainey, and others 25 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Religious Music The African American church was a central contributor of jazz expression The religious expressions commonly associated with the African American church grew out of a marriage of preaching and singing 26 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Spirituals Around 1800 was the Great Awakening Spirituals and revival hymns carried a great amount of emotion and were sung at camp meetings Spiritual, often called “hymns with a beat” were the 1st original songs created by Protestant African American slaves on American soil 27 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Spirituals Spirituals are an excellent example of the blend of African and European cultures Spirituals employed a call-and-response pattern Great emphasis on rhythm with hand clapping and foot stomping 28 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Spirituals Early African American church music can be put into three categories: Many of the selections were improvised (made up by the preacher and his congregation) Adoption of European church music and the addition of their own rhythmic concepts and variations African ritual music was altered so that it could be used in these services in America 29 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Spirituals The spiritual was: a type of folk song Helped in the development of the popular song and to vocal jazz 30 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Gospel Gospel music is performed in African American church Important that the audience actively respond to the performer The singer improvises and embellishes the melodic line by bending, sliding, or adding tones © Corbis/Bettmann Gospel songs and spirituals are often considered religious forms of the blues 31 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Mahalia Jackson and the African American Church Jackson never performed in a jazz situation She sang only songs that she believed served her religious feelings Influenced by Bessie Smith Jackson learned much about the phrasing of African American folk music 32 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Mahalia Jackson and the African American Church For many years, Jackson’s singing was not accepted in the middle-class African American churches Later on, Jackson became one of the stirring, sought-after singers in the world 33 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Marching Bands Early African American music in the United States was predominantly vocal After the Civil war, African Americans were able to make or by some instruments By the turn of the 20th century, the most publicized use of marching bands was for funerals These bands were not only found in New Orleans but also in the Southeast and as far west as Oklahoma 34 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Marching Bands Funeral procession music consisted of a traditional funeral music drone After the burial ceremony, a couple of blocks from the cemetery the band would break out into a jazz type of march Such as: “When the Saints Go Marching In” 35 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Marching Bands Typical marching band instrumentation consisted of: Cornet Trombone Clarinet Tuba Banjo Drums 36 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Marching Bands The small size of these marching bands made the groups adaptable for various functions like: Advertising campaigns Weddings Serenades 37 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Marching Bands A group might even perform in a horse-drawn wagon Thus, the name tailgate trombone was used to describe how the trombone player sat at the end of the wagon 38 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right Conclusion Important to jazz are the emphasis on rhythm taken from African music Harmonies taken from European music Melodies added by the improvisation from the American culture All these elements fuse to make jazz an American music rather than a music solely of the African Americans (who remain its pioneers and innovators) 39 Chapter - Jazz Heritages © 2005 The McGraw-Hill Companies, Inc All right ... cultures Spirituals employed a call-and-response pattern Great emphasis on rhythm with hand clapping and foot stomping 28 Chapter - Jazz Heritages © 20 05 The McGraw-Hill Companies, Inc All right... early form of jazz: Conservatory-trained Creoles spontaneous oral tradition of African Americans interchange of musical expression 19 Chapter - Jazz Heritages © 20 05 The McGraw-Hill Companies,... structure to this early jazz music The Creole music was a blend of the oral tradition and the European musical tradition 20 Chapter - Jazz Heritages © 20 05 The McGraw-Hill Companies, Inc All