1. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Jazz Tenth Edition Chapter 2 PowerPoint by Sharon Ann Toman, 2004

2. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 2 African and European Influences 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

3. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 3 African and European Influences Separate traditions…(one white and the other black)  Used both musical and cultural traditions to establish this new musical genre

4. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 4 African and European Influences 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

5. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 5 African and European Influences 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

6. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 6 Interpretation and Content All musical styles and traditions have an interpretive system of presentation 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

7. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 7 Interpretation and Content 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

8. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 8 African Influences 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

9. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 9 African Influences 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

10. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 10 African Influences African slaves brought these traditions to the United States and nurtured them in the woe and hardship of slavery

11. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 11 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

12. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 12 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

13. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 13 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 ritual- their 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

14. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 14 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

15. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 15 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

16. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 16 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

17. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 17 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

18. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 18 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)

19. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 19 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

20. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 20 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

21. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 21 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

22. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 22 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

23. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 23 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

24. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 24 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

25. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 25 Minstrels Beginning of the 20 th 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

26. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 26 Religious Music The African American church was a central contributor of jazz expression The religious expressions commonly associated with the African American church grew out of a marriage of preaching and singing

27. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 27 Spirituals Around 1800 was the Great Awakening Spirituals and revival hymns carried a great amount of emotion and were sung at camp meetings Spiritual, often called “hymns with a beat” were the 1 st original songs created by Protestant African American slaves on American soil

28. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 28 Spirituals Spirituals are an excellent example of the blend of African and European cultures Spirituals employed a call-and-response pattern Great emphasis on rhythm with hand clapping and foot stomping

29. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 29 Spirituals Early African American church music can be put into three categories:  1. Many of the selections were improvised (made up by the preacher and his congregation)  2. Adoption of European church music and the addition of their own rhythmic concepts and variations  3. African ritual music was altered so that it could be used in these services in America

30. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 30 Spirituals The spiritual was:  a type of folk song  Helped in the development of the popular song and to vocal jazz

31. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 31 Gospel Gospel music is performed in African American church  Important that the audience actively respond to the performer The singer improvises and embellishes the melodic line by bending, sliding, or adding tones Gospel songs and spirituals are often considered religious forms of the blues © Corbis/Bettmann.

32. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 32 Mahalia Jackson and the African American Church Jackson never performed in a jazz situation She sang only songs that she believed served her religious feelings Influenced by Bessie Smith  Jackson learned much about the phrasing of African American folk music

33. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 33 Mahalia Jackson and the African American Church For many years, Jackson’s singing was not accepted in the middle-class African American churches Later on, Jackson became one of the stirring, sought-after singers in the world

34. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 34 Marching Bands Early African American music in the United States was predominantly vocal After the Civil war, African Americans were able to make or by some instruments By the turn of the 20 th century, the most publicized use of marching bands was for funerals These bands were not only found in New Orleans but also in the Southeast and as far west as Oklahoma

35. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 35 Marching Bands Funeral procession music consisted of a traditional funeral music drone After the burial ceremony, a couple of blocks from the cemetery the band would break out into a jazz type of march  Such as: “When the Saints Go Marching In”

36. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 36 Marching Bands Typical marching band instrumentation consisted of:  Cornet  Trombone  Clarinet  Tuba  Banjo  Drums

37. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 37 Marching Bands The small size of these marching bands made the groups adaptable for various functions like:  Advertising campaigns  Weddings  Serenades

38. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 38 Marching Bands A group might even perform in a horse-drawn wagon Thus, the name tailgate trombone was used to describe how the trombone player sat at the end of the wagon

39. © 2005 The McGraw-Hill Companies, Inc. All rights reserved. Chapter 2 - Jazz Heritages 39 Conclusion Important to jazz are the emphasis on rhythm taken from African music Harmonies taken from European music Melodies added by the improvisation from the American culture All these elements fuse to make jazz an American music rather than a music solely of the African Americans (who remain its pioneers and innovators)