Lecture Jazz (Tenth edition) Chapter 2 Jazz heritages
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Jazz
Tenth Edition
Chapter 2
PowerPoint
by
Sharon Ann Toman, 2004
© 2005 The McGraw-Hill Companies, Inc. All right
African and European Influences
2
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 2 - Jazz Heritages
© 2005 The McGraw-Hill Companies, Inc. All right
African and European Influences
Separate traditions…(one white and the other
black)
3
Used both musical and cultural traditions to establish this
new musical genre
Chapter 2 - Jazz Heritages
© 2005 The McGraw-Hill Companies, Inc. All right
African and European Influences
4
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 2 - Jazz Heritages
© 2005 The McGraw-Hill Companies, Inc. All right
African and European Influences
5
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 2 - Jazz Heritages
© 2005 The McGraw-Hill Companies, Inc. All right
Interpretation and Content
All musical styles and traditions have an
interpretive system of presentation
6
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 2 - Jazz Heritages
© 2005 The McGraw-Hill Companies, Inc. All right
Interpretation and Content
7
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 2 - Jazz Heritages
© 2005 The McGraw-Hill Companies, Inc. All right
African Influences
8
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 2 - Jazz Heritages
© 2005 The McGraw-Hill Companies, Inc. All right
African Influences
9
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 2 - 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
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African Influences
Slaves did not intentionally invent a new music
at this point
Rather the new music arose unconsciously from
the transplantation of the African culture and the
African Americans’ struggle for survival
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African Rhythms
One major misconception about the origins of
jazz is that its rhythms came from Africa….
It is only the emphasis on rhythm that can be truly
designated African
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African Rhythms
“Three important points regarding Africans and
rhythmic sounds”
1. Religion, very important in culture of Africans, is a
daily way of life
2. African religions are greatly oriented toward ritualtheir sincerest form of expression
3. African rituals have always involved a great deal of
dancing, so rhythmic sounds have always been very
important to the lives of Africans
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Call and Response
The call and response pattern heard recurrently
in jazz can be traced directly to African tribal
traditions
In jazz, a “call” is usually by a solo singer or solo
instrumentalist and is followed by a “response” from one
instrument, or an ensemble
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European Influences
The melodic feature of jazz is directly from
European music
The diatonic and chromatic scales used in jazz
are the same as those used for centuries by
European composers
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European Influences
The harmonic sonorities are also derived from
European sources
Such as polkas, hymns, and marches
Musical forms of Europe became standard in
jazz works
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© 2005 The McGraw-Hill Companies, Inc. All right
African Americans in the Early Colonies
The evolution of African music in the colonies
depended greatly on the particular colony to
which the slaves were brought
Latin-Catholic colonies – their musical life was allowed
British Protestants – tried to convert the slaves to
Christianity
Result: slaves in these colonies were required to
conceal their “pagan” musical inheritance
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Congo Square
Congo Square was a large field in New Orleans
where slaves were allowed to gather on Sunday
to sing, dance, and play their drums in their
traditional native manner
Significance of Congo Square is that it gave original African
music a place to be heard, and where it “could influence
and be influenced by European music”
Name was later changed to Beauregard Square (1893)
Again changed to Louis Armstrong Park (1974)
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© 2005 The McGraw-Hill Companies, Inc. All right
Creole Music
The Creoles – people with Negro and French or
Spanish ancestry – were not accepted by white
society and joined the ranks of the African
Americans
The combinations of these musical talents
resulted in an early form of jazz:
Conservatory-trained Creoles
spontaneous oral tradition of African Americans
interchange of musical expression
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© 2005 The McGraw-Hill Companies, Inc. All right
Creole Music
The Creoles contributed harmonic and formal
structure to this early jazz music
The Creole music was a blend of the oral
tradition and the European musical tradition
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© 2005 The McGraw-Hill Companies, Inc. All right
Filed Hollers (Cries)
American slaves were often not allowed to talk
to one another in the fields while working
Singing was permitted while working
American slaves established communication
between themselves by field hollers (cries)
The whites could not understand this garbled
singing
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© 2005 The McGraw-Hill Companies, Inc. All right
Filed Hollers (Cries)
Outstanding elements of the field hollers was
bending of a tone
Bending of tone is an over exaggerated used of a slide or a
slur
In general a tone is bent (slurred) upward to a different
tone or downward to another pitch
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© 2005 The McGraw-Hill Companies, Inc. All right
Work Songs
Works songs were sung without instrumental
accompaniment
Work songs were associated with a
monotonous, regularly recurring physical task
Some work songs would include grunts, groans
Work songs placed emphasis on rhythm and
meter
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© 2005 The McGraw-Hill Companies, Inc. All right
Minstrels
Minstrels were shows (entertainment) performed
by the slaves for the white people
Slaves would act in such away as to much the
whites
The whites enjoyed these shows so much that
they would imitate the slaves by putting on the
same kind of show and don black make up
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© 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
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