Music: An Appreciation 8 th Edition by Roger Kamien

1. Music: An Appreciation8th Editionby Roger Kamien Unit VIII 爵士樂 Presentation Development: Robert Elliott University of Arkansas at Pine Bluff

2. Jazz • Developed in the United States • Began around 1900 in New Orleans • Originally music for bars and brothels • Early practitioners primarily African-American • Main characteristics • Improvisation • Syncopated rhythm • Steady beat • Call and response • Originally performance music—not notated • Tremendous impact on pop & art music

3. Jazz in Society • Originally music for dancing • Geographical center has moved around • Listening forms later developed • No longer associated with unfashionable lifestyle • Colleges now offer bachelor & graduate degrees in jazz

4. Chpt 1:爵士樂的風格:1900-1950年 • 爵士樂的起源 • 社會中的爵士樂 • West African emphasis on improvisation, percussion & call-and-response techniques • American brass band influence on instrumentation • European harmonic & structural practice • Blues & ragtime were immediate sources

5. Chpt. 1-Jazz Styles: 1900-1950 爵士樂的要素 • Usually performed by combo of 3-8 players 音色 • Backbone is rhythm section • Similar to Baroque basso continuo • Main solo instruments trumpet, trombone, saxophone, clarinet, vibraphone, piano • “Bends,” “smears,” “shakes,” “scoops,” “falls” 即興演奏 • Created & performed simultaneously • Each performance is different • Usually in theme and variations form • Most commonly 32-bar structure: A A B A format

6. Chpt. 1-Jazz Styles: 1900-1950 Elements of Jazz • Syncopation & rhythmic swing are features 節奏、旋律與和聲 • Rhythmic accent on beats 2 and 4 • Syncopation often occurs when performer accents note between the regular rhythmic accents • “Swing” result of uneven 8th notes (triplet feel) • Melodies flexible in pitch • 3rd, 5th, & 7th scale steps often lowered (flatted) • Called “blue” notes, these pitches come from vocal blues • Chord progressions similar to tonal system • As jazz evolved, harmony grew more complex

7. 切分拍音樂（散拍 Ragtime） • Piano music w/ left hand “oom-pah” part • Usually in duple meter at moderate march tempo • Right hand part highly syncopated • Left hand keeps steady beat • Dance hall and saloon music • “散拍之王”(Scott Joplin，1868-1917) Listening Joplin’s Maple Leaf RagBasic set CD 8:42 藍調Blues • Vocal and instrumental form • 12 measure (bar) musical structure 1 2 3 4 5 6 7 8 9 10 11 12 I IV I V I • 3 part vocal structure: a a’ b • Statement/repeat of statement/counterstatement

8. Listening Bessie Smith（貝西‧史密斯, 1894－1937）， 《昏了頭藍調》(Lost Your Head Blues，1926) (Smith known as “Empress of the Blues”) Listening Guide: p. 526 Brief Set, CD 4:55 Note: Strophic 12 bar blues form 3 part (a a’ b) vocal structure Trumpet answers vocalist Call and response

9. Chpt 4:紐奧爾良風格 • Also called Dixieland • New Orleans was center of jazz 1900-1917 • Front line of horns supported by rhythm section • Songs frequently based on march or church melody, ragtime piece, pop song, or blues • Characteristics • Improvised arrangements • Multiple instruments improvising simultaneously • Scat singing • Theme and variation form predominates • Many notable performers • Most famous was trumpeter Louis Armstrong

10. Chpt. 4-New Orleans Style Listening Louis Armstrong and his Hot-Five, 《更加狂熱》(Hotter Than That，1927) Based on tune by Lillian Hardin Armstrong, his wife and pianist Listening Guide: p. 530 Basic Set, CD 8:48 Note: Interplay of front line instruments Call and response Scat singing Also: Dippermouth Blues Basic Set, CD 8:47

11. Chpt 5:搖擺樂 • Popular 1935-45 (Swing era) • Written music • Primarily for dancing • The popular music of the time • The music of WWII • Large bands (usually 15-20 players) • Saxophones, trumpets, trombones, rhythm section • Melody usually performed by groups of instruments rather than by soloists • Other instruments accompany w/ background riffs • Theme and variations form common • Usually included improvisation by soloists (singly)

12. Chpt. 5-Swing Listening Duke Ellington 和他著名的樂團， C-Jam藍調(1942) Listening Guide: p. 533 Brief set, CD 1:5 Listen for: 12-bar blues format Contrast Repetition Improvisation Muted brass instruments

13. Chpt 6: 噼啪（Bebop）噼哩啪啦 • 1940’s and early 1950’s Bebop的風格 • Meant for listening—not dancing • Combo was preferred ensemble • Role of each instrument changed from earlier jazz • Melodic phrases varied in length • Chords built w/ 6 or 7 notes, not earlier 4 or 5 • Theme and variations form still dominant • Melodies derived from pop songs or 12-bar blues • Initial melody by soloist or 2 soloists in unison • Many notable performers including • Trumpet Dizzy Gillespie, piano Thelonious Monk • Most famous/influential alto sax Charlie Parker

14. Chpt. 6-Bebop Listening Charlie Parker（帕克），Bloomdido (1950) Performed by Charlie Parker, Dizzy Gillespie, Curly Russell, Thelonious Monk, and Buddy Rich Listening Guide: p. 537 Basic Set, CD 8:54 Note: Based on 12-bar blues format Fast tempo Lots of notes Extended improvisation

15. Chpt 7: 1950年之後的爵士樂 • 1950’s • More calm and relaxed than Bebop Cool Jazz酷爵士 • Relied more upon arrangements 自由爵士：歐內特‧柯爾曼與柯川 • 1960’s • Similar to Chance Music • Solos sections of indeterminate length • Improvisation by multiple players at once 爵士搖滾（融合風） • In late 1960’s, rock became potent influence • Style combined improvisation w/ rock rhythms • Combined acoustic & electric instruments

16. Listening Miles Davis（戴維斯），（ Miles訓斥巫師 Miles Runs the Voodoo Down，1969） from’s Bitches Brew (1969) Miles Davis, Wayne Shorter, Bennie Maupin, Lenny White, Jack De Johnette, Charles Alias, Jim Riley, Chick Corea, Larry Young, Harvey Brooks, Dave Holland, John McLaughlin Listening Guide: p. 540 Basic Set, CD 8:55 Note: Electric and acoustic instruments Mixture of jazz and rock elements