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

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

7. Dance hall and saloon music 切分拍音樂（散拍 Ragtime ） Piano music w/ left hand “oom-pah” part Vocal and instrumental form 藍調 Blues 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 12 measure (bar) musical structure 1 2 3 4 5 6 7 8 9 10 11 12 IIVIVI 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 answersvocalist Call and response

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

10. 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. 4-New Orleans Style

11. Chpt 5: 搖擺樂 Popular 1935-45 (Swing era) Written music Large bands (usually 15-20 players) Primarily for dancing The popular music of the time The music of WWII 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. 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 Chpt. 5-Swing

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

14. 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. 6-Bebop

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