Music History Jazz

Question: Discuss about the Music History for Jazz. Answer: Introduction Jazz is conceptualized as highly rhythmic and syncopated kind of music which has its roots in New Orleans. Scholars agree that Jazz music emerged in New Orleans, Louisiana at the dawn of 20th century (Anderson, 2007). Jazz development was significantly influenced by both African and European music traditions. From African music traditions jazz borrowed "feel" and rhythm, "blue" quality and the custom of playing the instrument in customized manner thus acting as an extension of the human voice. Similarly, from the European music tradition, jazz inherited the use of instrument because the majority of the instruments such as trumpet, saxophone, and piano were from Europe (Scaruffi, 2007). Besides, jazz got harmony no wonder jazz harmony is similar to European classic music. The purpose of this research, therefore, is to discuss the forces that came together to jazz in the late 1950s and how they created a backlash in the early 1960s against a jazz mainstream that had lost its authentici ty and creative momentum. Background Historically speaking jazz was born in the midst of a conflict between the white rich and the poor blacks. The conflict of values between the two boiled out to streets and fields and the most authentic way to express this was through music. It is, therefore, prudent to say jazz was born as a defiant music of the segregated poor black people. The term jazz had its origin in the New Orleans whorehouses and got its first usage in 1917 (Krekola Mikkonen, 2011). Initially, jazz was developed as dance music, but it later evolved to listening music in the 1940s. Additionally, it was conceived as an oral music, hence for a long time it remained unwritten. Due to cultural diversity in New Orleans jazz is characterized by various styles which include Jazz-rock, Dixie Jazz/New Orleans Jazz, Cool Jazz, Swing, Free Jazz, and B-Bop. All these jazz styles are featured by improvisation, syncopated rhythmic patterns, and strong performance techniques making jazz a unique music style. As a unique mus ical genre jazz was popularly accepted in Australia, Britain, and America from the 1800s to late 1940s. In the 1950s jazz as a genre had lost its popularity probably due to the fact that it has evolved to be too cognitive for an average listener (Hazell, 2014). For music to remain vibrant, it must be easy to dance or to sing it. The forces that came together in the 1950s, however, sought to recapture jazz enthusiasm. Forces That Came Together in the Late 1950s and How They Created Jazz Backlash in early 1960s Music industry encountered significant technological advancement in the 1950s. Advanced recording techniques allowed recording engineers and musician to formulate amazing soundscapes. Concerts and radio shows were replaced by recordings thus becoming the main medium by which people interacted with music (Anderson, 2007). At this period jazz art world experienced amalgamations of forces like social, political and cultural upheaval, independence of artists, and technological advancement. The combination of these forces resulted to the renaissance of jazz art world. This renaissance was featured by massive production, stylistic novelty, and bulging audiences, consequently, gaining the attention of both broadcast and print media. Besides, this period marked the dawn of the modern American jazz. This time was featured by a massive recording of jazz music, thanks to technological advancement. This extensive recording can be attributed to works of Van Gelder who was fundamentally a jazz spe cialist (Feather, 2017). Technological Advancement Music industry experience transformation in the 1950s, one of the significant technological developments that revolutionized the music industry was improved Thomas Edison's phonograph (Gioia, 2011). The magnetic phonographs allowed artists to record only what they liked. The tremendous advancement called for new jazz artistic creativity. Another technological advancement which metamorphosed how jazz music was traditionally made was the emergence of colored television. Prior to this advancement, the spread of music relied on radio, live performances, and records. That meant for one to listen to music it was either on a off record, radio or a live performance. These said mediums were not the best for a music listener. They pushed the audience far from the music performer, either because the listener could not see the artist or he/she was seated very far from the performer. Television got wide acceptance in the 1950s because they were accessible and affordable (Perchard, 2017). As a res ult jazz artist had to innovate a new way to thrive in the media culture as opposed to live performances. The presence of the broadcast media made jazz artist to incorporate dancing into their music as opposed to classical jazz music. Political, Social, and Cultural Forces The political, social, and cultural forces were instrumental in this renaissance. The government approved the use of jazz musicians as American cultural ambassadors. This move, therefore, led to modern jazz aesthetics which was characterized by musical improvement in jazz performance and innovative stylistic directions. Similarly, cultural forces at this time created a radicalized community of black jazz artists, who were race conscious. As a result, they passionately challenged the direction jazz music was taking both ideologically and musically (Giddins DeVeaux, 2009). Equally, society was becoming intensely capitalistic thus jazz artists were working independently either as writers, producers, and artists. This element hence hindered any of the styles from dominating. Without any seat of authority, jazz music maintained diversity thus developing innovatively. In addition, the economic boom of this period motivated jazz movement from its comfort zones in the urban clubs to new fro ntiers like education centers, art museums, outdoor facilities, and concert halls. Furthermore, the economic status of the time also encouraged jazz artists to move outside the United States borders. Hence, jazz established itself as an international brand, consequently leading to remarkable writing on jazz. The written literature transformed the jazz art world significantly (Montiel, 2016). Moreover, government promotion of jazz as a symbol of the American culture and the American art form solidified music ideologies, thus, encouraging more innovation to create wide reception of the jazz music home and abroad. In the late 1950s and early 1960s American and world social setting was undergoing transformation led by civil right movements. There was a political wave of demanding freedom in every aspect of life, and as a result, free jazz was born. Consequently, many scholars see the emergence of free jazz a reaction of the segregated black people rather than just a mere rejection of particular music ideas and credos. Civil movement hence contributed to the recognition of black jazz artists. Therefore, this period is marked by growing social mobility of the black jazz artists. New opportunities were reserved for black jazz artists by both recording and radio industry (Epperson, 2013). Similarly, famous bland bands got sponsorships and were promoted due to increasing demand of jazz music internationally as well as among the whites. In addition, jazz art encouraged integration between blacks and whites in the music industry. Though the reality of discrimination was still alive in this era, both b lacks and whites were equals in the jazz community. Jazz art not only integrated the American divergent cultures and people but also brought people together globally. Within this period jazz music was greatly influenced by ideas from third world countries like India, Africa, Latin America, and the Middle East. Free jazz, therefore, encouraged artistic innovation among the black and white artists hence reviving jazz authenticity and creative momentum. Intellectual Force After the World War II jazz music penetrated the American education system hence it was adopted in high school, universities, and colleges music programs. This appreciation led to the formation of International Association for Jazz Education. The association promoted jazz training in schools and recognition of jazz art as a legitimate and economically viable form of art which could be studied as a career. As a result, jazz festivals were organized both within the United States and internationally (Anderson, 2007). Overseas festivals in places like Italy, Switzerland, and Netherlands resulted in being more successful to extent of breaking attendance records in similar events in the U.S. Penetration of jazz art in the educational centers had two main repercussions for jazz music. First was the creation of new audience. This audience was unique in that it was different in race-ethnic background, class background and conventional sensibility than the former audience in the night urban cl ubs (Tschmuck, 2012). This new audience thus demanded a new jazz aesthetic which called for creativity and authenticity. Secondly, recruitment of jazz artist in the 1960s was dependent on individual exposure to performing in the educational institutions. The presence of jazz art in the educational centers thus encouraged innovation and authenticity. The creativity of this period resulted different styles of jazz, bop jazz was popular amongst them. It played as a cool jazz, the creativity that featured this style entailed of quick, unusual harmonies. Many individual artists also emerged as a result of these forces. The 1950s era revealed different composers some who could not be categorized either as cool or hard jazz creators; however, their creativity made them to be admired (Shipton, 2007). Some of them like George Russell, Nichols, and Lewis wrote colorful, intricate and bright music for their bands. The same forces led to the revival of Chicago jazz center in 1965. The center acted as a jazz music learning center for the youths. The center was very critical in shaping future jazz musicians with the United States and internationally. The jazz enthusiasm of the 1950s led to new musical heritage, which created new kind of jazz art through emphases of authenticity and creativity. The creativity which characterized jazz in this era witnessed incorporation of styles from other music genres like blues, gospel hymns, and ragtime. However, these borrowed styles were applied in jazz in a unique manner that demonstrated a high level of inventiveness. Such ingenuity formed a different genre of jazz that attracted people from different social status, age, and race (Berry, Foose Jones, 2009). Hence, jazz art experienced a revival. Besides, this new form of jazz was thought to be unique since it encouraged the expression of individuality and creativity through the use of solos. Some artist captivated the audience by use of inflection. Such forms of uniqueness and creativity marked the backlash of jazz in the 1960s. Conclusion In conclusion, it's clear from the research that jazz music was a creation of social, political, and cultural factors. It is also explicit that jazz music significantly developed as an American Art form and as such it acted as a cultural, social, and political unity of the Americans. On the other hand, full acceptance of television as a form of entertainment in the 1950s offered a new platform for jazz musicians thus calling for more creativity. Government departments in the United States also utilized jazz music and musicians to propagate American culture internationally. In addition, jazz was used to depict America as a unified country especially during the rise of civil movement and cold war period (Gioia, 2011). Economic forces are illustrated as vital in making a music industry recognized and economically viable. The role of educational institutes in transforming a concept cannot also be ignored. This is demonstrated by the fact that interaction of jazz with academicians saw inn ovation and authenticity. It is, therefore, prudent to conclude that jazz stylistic innovation, authenticity, and creative momentum of the 1960s was propelled by the establishment of a new audience, the rapid expansion of production, the presence of broadcast media, government approval, economic factors, and socio-cultural factors. References Anderson, I. (2007). This is our music: Free jazz, the sixties, and American culture. University of Pennsylvania Press. Berry, J., Foose, J., Jones, T. (2009). Up from the cradle of jazz: New Orleans music since World War II. University of Louisiana at Lafayette. Epperson, B. D. (2013). More Important Than the Music: A History of Jazz Discography. University of Chicago Press. Feather, L. (2017). The Book of Jazz-A Guide to the Entire Field. Edizioni Savine. Giddins, G., DeVeaux, S. K. (2009). Jazz. WW Norton Company Incorporated. Gioia, T. (2011). 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