Music: An Appreciation
8th Edition
by Roger Kamien
Unit VIII
爵士樂
Presentation Development: Robert Elliott
University of Arkansas at Pine Bluff
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
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•
•
•
Improvisation
Syncopated rhythm
Steady beat
Call and response
• Originally performance music—not notated
• Tremendous impact on pop & art music
Jazz in Society
• Geographical center has moved around
• Originally music for dancing
• Listening forms later developed
• No longer associated with unfashionable lifestyle
• Colleges now offer bachelor & graduate degrees in jazz
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-andresponse techniques

American brass band influence on instrumentation
European harmonic & structural practice


Blues & ragtime were immediate sources
爵士樂的要素
Chpt. 1-Jazz Styles: 1900-1950
音色
• Usually performed by combo of 3-8 players
• 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
Elements of Jazz
Chpt. 1-Jazz Styles: 1900-1950
節奏、旋律與和聲
• Syncopation & rhythmic swing are features
• 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
切分拍音樂（散拍 Ragtime）
• Dance hall and saloon music
• 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
• “散拍之王” (Scott Joplin，1868-1917)
Listening
Joplin’s Maple Leaf Rag Basic 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
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
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
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•
•
•
Improvised arrangements
Multiple instruments improvising simultaneously
Scat singing
Theme and variation form predominates
• Many notable performers
• Most famous was trumpeter Louis Armstrong
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
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)
Chpt. 5-Swing
Listening
Duke Ellington 和他著名的樂團， CJam藍調(1942)
Listening Guide: p. 533
Brief set, CD 1:5
Listen for: 12-bar blues format
Contrast
Repetition
Improvisation
Muted brass instruments
Chpt 6: 噼啪 （Bebop）噼哩啪啦
Bebop的風格
• 1940’s and early 1950’s
• 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
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
Chpt 7: 1950年之後的爵士樂
Cool Jazz酷爵士
• 1950’s
• More calm and relaxed than Bebop
• 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
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