谁帮我写一段关于爵士乐的英文介绍
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Jazz
I INTRODUCTION
Jazz, type of music first developed by African Americans around the first decade of the 20th century that has an identifiable history and distinct stylistic evolution. Jazz grew up alongside the blues and popular music, and all these genres overlap in many ways. However, critics generally agree about whether artists fall squarely in one camp or another.
II CHARACTERISTICS
Since its beginnings jazz has branched out into so many styles that no single description fits all of them accurately. A few generalizations can be made, however, bearing in mind that for all of them, exceptions can be cited.
Performers of jazz improvise within the conventions of their chosen style. Typically, the improvisation is accompanied by the repeated chord progression of a popular song or an original composition. Instrumentalists emulate black vocal styles, including the use of glissandi (sliding movements that smoothly change the pitch), nuances of pitch (including blue notes, the “bent” notes that are played or sung slightly lower than the major scale), and tonal effects such as growls and wails.
In striving to develop a personal sound, or tone color (an idiosyncratic sense of rhythm and form and an indivial style of execution), performers create rhythms characterized by constant syncopation (the placing of accents in unexpected places, usually on the weaker beat) and by swing. Swing can be defined as a sensation of momentum in which a melody is alternately heard together with, then slightly at variance with, the regular beat. Written scores, if present, are often used merely as guides, providing structure within which improvisation occurs. The typical instrumentation begins with a rhythm section consisting of piano, string bass, drums, and optional guitar, to which may be added any number of wind instruments. In big bands the wind instruments are grouped into three sections: saxophones, trombones, and trumpets.
Although exceptions occur in some styles, most jazz is based on the principle that an infinite number of melodies can fit the chord progressions of any song. The musician improvises new melodies that fit the chord progression, which is repeated again and again as each soloist is featured, for as many choruses as desired.
Although pieces with many different formal patterns are used for jazz improvisation, two formal patterns in particular are frequently found in songs used for jazz. One is the AABA form of popular-song choruses, which typically consists of 32 measures in ¹ meter, divided into four 8-measure sections: section A, a repetition of section A, section B (the “bridge” or “release,” often beginning in a new key), and a repetition of section A. The second form, with roots deep in African American folk music, is the 12-bar blues form. Unlike the 32-bar AABA form, blues songs have a fairly standardized chord progression.
III ORIGINS
Jazz is rooted in the mingled musical traditions of African Americans. These include traits surviving from West African music; black folk music forms developed in the Americas; European popular and light classical music of the 18th and 19th centuries; and later popular music forms influenced by black music or proced by black composers. Among the surviving African traits are vocal styles that include great freedom of vocal color; a tradition of improvisation; call-and-response patterns; and rhythmic complexity, both in the syncopation of indivial melodic lines and in the conflicting rhythms played by different members of an ensemble. Black folk music forms include field hollers, rowing chants, lullabies, and later, spirituals and blues (see African American Music).
European music contributed specific styles and forms: hymns, marches, waltzes, quadrilles, and other dance music, as well as light theatrical music and Italian operatic music. European music also introced theoretical elements, in particular, harmony, both as a vocabulary of chords and as a concept related to musical form. (Much of the European influence was absorbed through private lessons in European music, even when the black musicians so trained could only find work in seedy entertainment districts and on Mississippi riverboats.)
Black-influenced elements of popular music that contributed to jazz include the banjo music of the minstrel shows (derived from the banjo music of slaves), the syncopated rhythmic patterns of African-influenced Latin American music (heard in southern U.S. cities), the barrelhouse piano styles of tavern musicians in the Midwest, and the marches played by black brass bands in the late 19th century. Near the end of the 19th century, another influential genre emerged. This was ragtime, a composed music that combined many elements, including syncopated rhythms (from banjo music and other black sources) and the harmonic contrasts and formal patterns of European marches. After 1910 bandleader W. C. Handy took another influential form, the blues, and broke its strict oral tradition by publishing his original blues songs. (Favored by jazz musicians, Handy’s songs found one of their greatest interpreters in the 1920s in blues singer Bessie Smith, who recorded many of them.)
The merging of these multiple influences into jazz is difficult to reconstruct because it occurred before the existence of recording, which has provided valuable documentation. Of course, indivial musicians had varying backgrounds and few people were directly exposed to all of these influences. For example, most jazz artists were and are city dwellers and might have only known rural black forms indirectly.
IV HISTORY
Most early jazz was played in small dance bands or by solo pianists. Besides ragtime and marches, the repertoire included all kinds of popular dance music and blues. The bands typically played at picnics, weddings, parades, and funerals. Characteristically, the bands played dirges on the way to funerals and lively marches on the way back. Blues and ragtime had arisen independently just a few years before jazz and continued to exist alongside it, influencing the style and forms of jazz and providing important vehicles for jazz improvisation.
A New Orleans Jazz
Shortly after the turn of the 20th century, the earliest fully documented jazz style emerged and centered in New Orleans, Louisiana. In this style the cornet, trumpet, or violin carried the melody, the clarinet played florid countermelodies, and the trombone played rhythmic slides and sounded the root notes of chords or simple harmonies. Below this basic trio the guitar or banjo sounded the chords, along with a piano, if available; a string bass (or tuba for marching parades) provided a bass line; and drums supplied the rhythmic accompaniment. In theory, these roles were the same as in other kinds of music—it was the addition of improvisation, along with elements of other black music such as blues and ragtime, that made jazz unique.
A musician named Buddy Bolden appears to have led some bands that influenced early jazz musicians, but this music and its sound have been lost to posterity. Although some jazz influences can be heard on a few early phonograph records, not until 1917 did a jazz band record. This band, a group of white New Orleans musicians called The Original Dixieland Jazz Band, created a sensation overseas and in the United States. Among the band’s many successors, two groups emerged in the early 1920s that were particularly celebrated: the New Orleans Rhythm Kings and the Creole Jazz Band, the latter of which was led by cornetist King Oliver, an influential stylist. The series of recordings made by Oliver’s band are often considered the most significant jazz recordings by a New Orleans group. Other leading New Orleans musicians included trumpeters Bunk Johnson and Freddie Keppard, soprano saxophonist and clarinetist Sidney Bechet, drummer Warren “Baby” Dodds, and pianist and composer Jelly Roll Morton. The most influential jazz musician nurtured in New Orleans, however, was King Oliver’s second trumpeter, Louis Armstrong.
B Armstrong’s Impact
Armstrong was a dazzling improviser, technically, emotionally, and intellectually. He and his generation changed the format of jazz by bringing the soloist to the forefront, and within his recording groups, the Hot Five and the Hot Seven, he demonstrated that jazz improvisation could go far beyond simply ornamenting the melody—he created new melodies based on the chords of the initial tune. He also set a standard for later jazz singers, not only by the way he altered the words and melodies of songs, but also by improvising without words, like an instrument. This form of vocal improvisation is known as scat singing.
C Chicago and New York City
For jazz, the 1920s was a decade of great experimentation and discovery. Many New Orleans musicians, including Armstrong, migrated to Chicago, Illinois, influencing local musicians and stimulating the evolution of the Chicago style. This style was derived from the New Orleans style but emphasized soloists, often added saxophone to the instrumentation, and usually proced tenser rhythms and more complicated textures. Instrumentalists working in Chicago or influenced by the Chicago style included trombonist Jack Teagarden, banjoist and guitarist Eddie Condon, drummer Gene Krupa, and clarinetist Benny Goodman. Also active in Chicago was Bix Beiderbecke, whose lyrical approach to the cornet provided an alternative to Armstrong’s bravura trumpet style. Many Chicago musicians eventually settled in New York City, another major center for jazz in the 1920s.
D Jazz Piano
Another vehicle for the development of jazz in the 1920s was piano music. The Harlem section of New York City became the center of a highly technical, hard-driving solo style known as stride piano. The master of this approach in the early 1920s was James P. Johnson, but it was Johnson’s protégé Fats Waller—a talented vocalist and entertainer as well—who became by far the most popular performer of this idiom.
A second piano style to develop in the 1920s was boogie-woogie. A form of blues played on the piano, it consists of a short, sharply accented bass pattern played repeatedly by the left hand while the right hand plays freely, using a variety of rhythms. Boogie-woogie became especially popular in the 1930s and 1940s. Leading boogie-woogie pianists included Meade Lux Lewis, Albert Ammons, Pete Johnson, and Pine Top Smith.
The most brilliant pianist of the 1920s, comparable to Armstrong in sheer innovation and present on some of his most influential recordings, was Earl “Fatha” Hines, a Chicago-nurtured virtuoso considered to possess a wild, unpredictable imagination. His style, combined with the smoother approach of Waller, influenced most pianists of the next generation—notably Teddy Wilson, who was featured with Goodman’s band in the 1930s, and Art Tatum, who performed mostly as a soloist and was regarded with awe for his virtuosity and sophisticated harmonic sense.
E The Big-Band Era
Also ring the 1920s, large groups of jazz musicians began to play together, after the model of society dance bands. These were the so-called big bands, which became so popular in the 1930s and early 1940s that the period was known as the swing era. One major development in the emergence of the swing era was a rhythmic change that smoothed the two-beat rhythms of some early bands into a more flowing four beats to the bar. Musicians also developed the use of short melodic patterns, called riffs, in call-and-response patterns. To facilitate this procere, orchestras were divided into instrumental sections, each with its own riffs, and opportunities were provided for musicians to play solos.
The development of the big band as a jazz medium was strongly influenced by the achievements of Duke Ellington and Fletcher Henderson. Henderson’s arranger, Don Redman, and later Henderson himself, introced written jazz scores that were widely admired for their effort to capture the quality of improvisation that characterized the music of smaller ensembles. To achieve this improvisation, Redman and Henderson were aided by gifted soloists such as tenor saxophonist Coleman Hawkins and by Armstrong, who played in Henderson’s band ring 1924 and 1925.
Ellington led a band at the Cotton Club in New York City ring the late 1920s. Continuing to direct his orchestra until his death in 1974, he composed colorful experimental concert pieces ranging in length, from the three-minute “Ko-Ko” (1940) to the hourlong Black, Brown, and Beige (1943), as well as songs such as “Solitude” and “Sophisticated Lady.” More complex than Henderson’s music, Ellington’s music made his orchestra a cohesive ensemble, with solos written for the unique qualities of specific instruments and players. Other black bands that were popular among musicians and audiences were led by Jimmie Lunceford, Chick Webb, and Cab Calloway.
A different style of big-band jazz was developed in Kansas City, Missouri, ring the mid-1930s and was epitomized by the band of Count Basie. Originally assembled in Kansas City, Basie’s band reflected that region’s emphasis on improvisation, keeping the prepared passages relatively short and simple. The wind instruments in his band exchanged ensemble riffs in a free, strongly rhythmical interplay, with pauses to accommodate instrumental solos. Basie’s tenor saxophonist Lester Young, in particular, played with a rhythmic freedom rarely apparent in the improvisations of soloists from other bands. Young’s delicate tone and long, flowing melodies, laced with an occasional avant-garde honk or gurgle, opened up a whole new approach, just as Armstrong’s trumpet and cornet playing had done in the 1920s.
Other trendsetters of the late 1930s were trumpeter Roy Eldridge, electric guitarist Charlie Christian, drummer Kenny Clarke, and vibraphonist Lionel Hampton. Jazz singing in the 1930s became increasingly flexible and stylized. Ivie Anderson, Mildred Bailey, Ella Fitzgerald, and, above all, Billie Holiday were among the leading singers. Europeans also became more active in jazz ring this time. Christian, for example, was influenced by Belgian guitarist Django Reinhardt, whose brilliant recordings were available in the United States.
F Interplay with Popular and Classical Music
The pioneering efforts of Armstrong, Ellington, Henderson, and others made jazz a dominant influence on American music ring the 1920s and 1930s. Popular musicians such as bandleader Paul Whiteman used some of the more obvious rhythmic and melodic devices of jazz, although with less improvisational freedom and skill than were displayed in the music of the major jazz players. Attempting to fuse jazz with light classical music, Whiteman’s orchestra also premiered jazzy symphonic pieces by American composers such as George Gershwin. Closer to the authentic jazz tradition of improvisation and solo virtuosity was the music played by the bands of Benny Goodman (who used many of Henderson’s arrangements), Gene Krupa, and Harry James.
Since the days of ragtime, jazz composers had admired classical music. A number of swing-era musicians “jazzed the classics” in works such as “Bach Goes to Town” (written by Alec Wilder and recorded by Goodman) and “Ebony Rhapsody” (recorded by Ellington and others). Composers of concert music, in turn, paid tribute to jazz in works such as Contrasts (1938, commissioned by Goodman) by Hungarian Béla Bartók and Ebony Concerto (1945, commissioned by Woody Herman) by Russian-born Igor Stravinsky. Other composers, such as Aaron Copland, an American, and Darius Milhaud, a Frenchman, acknowledged the spirit of jazz in their works.
G The 1940s and the Postwar Decades
The preeminently influential jazz musician of the 1940s was Charlie Parker, who became the leader of a new style known usually as bebop, but also as rebop or bop. Like Lester Young, Charlie Christian, and other outstanding soloists, Parker had played with big bands. During World War II (1939-1945), however, the wartime economy and changes in audience tastes had driven many big bands out of business. Their decline, combined with the radically new bebop style, amounted to a revolution in the jazz world.
Bebop was still based on the principle of improvisation over a chord progression, but the tempos were faster, the phrases longer and more complex, and the emotional range expanded to include more unpleasant feelings than before. Jazz musicians became aware of themselves as artists and made little effort to sell their wares by adding vocals, dancing, and comedy as their predecessors had.
At the center of the ferment stood Parker, who could play anything on the saxophone, in any tempo and in any key. He created beautiful melodies that were related in advanced ways to the underlying chords, and his music possessed endless rhythmic variety. Parker’s frequent collaborators were trumpeter Dizzy Gillespie, known for his formidable speed and range and daring harmonic sense, and pianist Earl “Bud” Powell and drummer Max Roach, both leaders in their own right. Also highly regarded were pianist-composer Thelonious Monk and trumpeter Fats Navarro. Jazz singer Sarah Vaughan was associated early in her career with bebop musicians, particularly Gillespie and Parker.
The late 1940s brought forth an explosion of experimentation in jazz. Modernized big bands led by Gillespie and Stan Kenton flourished alongside small groups with innovative musicians such as pianist Lennie Tristano. Most of these groups drew ideas from 20th-century pieces by masters such as Bartók and Stravinsky.
The most influential of the midcentury experiments with classically influenced jazz were the recordings made in 1949 and 1950 by an unusual nonet led by Charlie Parker’s protégé, a young trumpeter named Miles Davis. The written arrangements, by Davis and others, were soft in tone but highly complex. Many groups adopted this “cool” style, especially on the West Coast, and so it became known as West Coast jazz. Refined by players such as tenor saxophonists Zoot Sims and Stan Getz and baritone saxophonist Gerry Mulligan, West Coast jazz flourished throughout the 1950s. Also in the 1950s pianist Dave Brubeck (a student of Milhaud’s), with alto saxophonist Paul Desmond, achieved popularity with his blend of classical music and jazz.
Most musicians, however, particularly on the East Coast, continued to expand on the hotter, more driving bebop tradition. Major exponents of the hard-bop or East Coast style included trumpeter Clifford Brown, drummer Art Blakey, and tenor saxophonist Sonny Rollins, whose unique approach made him one of the major talents of his generation. Another derivative of the Parker style was soul jazz, played by pianist Horace Silver, alto saxophonist Cannonball Adderley, and his brother, cornetist Nat Adderley.
H The Late 1950s, 1960s, and 1970s
Several new approaches characterized jazz in the third quarter of the century. The years around 1960 ranked with the late 1920s and the late 1940s as one of the most fertile periods in the history of jazz.
H1 Modal Jazz
In 1955 Miles Davis organized a quintet that featured tenor saxophonist John Coltrane, whose complex approach proced a striking contrast to Davis’s rich-toned, unhurried, expressive melodic lines. Coltrane poured out streams of notes with velocity and passion, exploring every melodic idea, no matter how exotic; nevertheless, he played slow ballads with poise and serenity. In his solos he revealed an exceptional sense of form and pacing. In 1959 Coltrane appeared on a landmark Miles Davis album, Kind of Blue. Along with pianist Bill Evans, Davis devised for this album a set of pieces that remain in one key, chord, and mode for as long as 16 me
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Overview
Jazz has roots in the combination of Western and African music traditions, including spirituals, blues and ragtime, stemming from West Africa, western Sahel, and New England's religious hymns, hillbilly music, and European military band music. After originating in African American communities near the beginning of the 20th century, jazz styles spread in the 1920s, influencing other musical styles. The origins of the word jazz are uncertain. The word is rooted in American slang, and various derivations have been suggested. [1]
Jazz is rooted in the blues, the folk music of former enslaved Africans in the U.S. South and their descendants, which is influenced by West African cultural and musical traditions that evolved as black musicians migrated to the cities. Jazz musician Wynton Marsalis states that "Jazz is something Negroes invented...the nobility of the race put into sound ... jazz has all the elements, from the spare and penetrating to the complex and enveloping.[2]
The instruments used in marching bands and dance band music at the turn of century became the basic instruments of jazz: brass, reeds, and drums, using the Western 12-tone scale. A "...black musical spirit (involving rhythm and melody) was bursting out of the confines of European musical tradition [of the marching bands], even though the performers were using European styled instruments.[3]
Small bands of Black musicians which led funeral processions in New Orleans played a seminal role in the articulation and dissemination of early jazz, traveling throughout black communities in the Deep South and to northern cities. This early proto-jazz music was done primarily by self-taught musicians.
The postbellum network of black-established schools, as well as civic societies and widening mainstream opportunities for ecation, proced more formally trained African-American musicians. Lorenzo Tio and Scott Joplin were schooled in classical European musical forms. Joplin, the son of a former slave and a free-born woman of color, was largely self-taught until age 11, when he received lessons in the fundamentals of music theory. Black musicians with formal music skills helped to preserve and disseminate the essentially improvisational musical styles of jazz.
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jazz:爵士乐
Jazz is an original American musical art form that originated around the start of the 20th century in New Orleans, rooted in African American musical styles blended with Western music technique and theory. Jazz uses blue notes, syncopation, swing, call and response, polyrhythms, and improvisation.
European Jazz
Outside of the United States the beginnings of a distinctly European jazz started emerging. At first this came mostly in France with the Quintette Hot Club de France being among the first non-US bands of significance to jazz history. The playing of Django Reinhardt in particular would be important to the rise of gypsy jazz, which is one of the earliest genres to start outside the US.
爵士乐，一种起源于非洲的音乐形式。
爵士乐缘自比它更早出现的一些美国黑人音乐（如蓝调，福音歌曲等），而这些音乐是美国黑人根植于其非洲音乐传统的基础上结合他们在现实中的遭遇创作出来的。早期布鲁斯主要表现黑人的悲惨境遇和底层生活状态，大多比较凄苦，福音歌曲主要是（向上帝）祈求平安，希望得到救赎。爵士乐在其发展过程中除了有黑人音乐的根源外，还吸收了如古典音乐，民族音乐等诸多音乐元素，逐渐形成了今天多门多类的爵士乐，所传递的内容也更为多样，不光只是早期的“黑人风格”。
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源自美国黑人的爵士乐19世纪末发祥于美国南部路易斯安那州的新奥尔良市，至今已有百年历史。从最早期的“拉格泰姆”和“民间蓝调”到颇具规模的新奥尔良爵士乐；从20年代着名的以集体即兴演奏为主的“迪克西兰”到30年代以伴舞为主要职能的“摇摆乐”；从40年代追求高超的以和弦演奏为基础做即兴演奏的“比波普”到50、60年代风格迥异的“比波普”和“酷”以及随后的“自由”派；从70、80年代“摇滚”和爵士乐的融合，“合成”的出现到90年代“新经典主义”的诞生；直至今天，每一种爵士风格都活跃在舞台上。具有
强烈持久生命力的爵士乐经过百年的演变和融合，早已突破了地域、种族和国界的局限，成为一种世界性的音乐。
爵士乐在中国的历史可追溯到半个多世纪之前。叁、四十年代的上海就是爵士乐在中国的栖息地，曾出现过相当规模的爵士乐演出和一些颇具水准的爵士乐音乐家。不过那时的爵士乐主要是为舞厅伴舞。几十年的沧桑变迁，爵士乐在中国几乎销声匿迹，出现了近四十年的断层。而这期间正是爵士乐重要的发展阶段。爵士乐早已摆脱了四平八稳的伴舞的音乐形式，融合了丰富的音乐风格、文化特质和演奏技巧，最具音乐自身的魅力、表现力和感染力，早已置身于高雅艺术的行列。八十年代末以来，爵士乐在中国复兴，并赢得越来越大的发展空间。
今天的爵士乐早已超越了各种单一的音乐文化形式，发展成为一种属于精神范畴的音乐，它最能体现音乐家灵感和和创新，它既有个人独奏、小乐团，也有类似交响乐团的大乐队编制。在当今世上能与古典音乐相提并论的恐怕唯有爵士乐了。因为爵士乐不仅旋律、和声和节奏方面极具特色，更主要的是它复活了古典音乐失传已久的即兴演奏。此外，爵士乐强劲的节奏、复杂的和弦体系以及高超的演奏技巧等等都因音乐家不同的喜好、文化背景和生活的体验而有不同的反映和表现。爵士乐通过它独特的音乐语言，从不重复的、饱涵丰富文化特征的、极具个性的灵活的音乐演奏，时而低沉忧伤，如泣如诉，时而强劲高亢，激动奔放，直探听者的心底，给人深刻的精神体验和心灵的喜悦。
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