Jazz, ...a long story of music

Jazz, ...a long story of music 

Long-standing debate in the jazz community over the definition and boundaries of "jazz". Although alteration or transformation of jazz by new influences has often been criticized as a humiliation initially "," Andrew Gilbert argues that jazz has the ability "to absorb and transform influences" from diverse musical styles. While some enthusiasts of certain types of jazz argued for narrower definitions which exclude many kinds of music also known as "jazz", jazz musicians themselves are often reluctant to define the music 

they play. Duke Ellington summed up by saying, "It's all music." Some critics have even stated that Ellington's music was not jazz because it set up and manage. A friend the other hand Ellington twenty solo Earl Hines's "transformative versions" of the composition of Ellington (on Earl Hines Plays Duke Ellington recorded in 1970) is described by Ben Ratliff, New York Times jazz critic, as "a good example of the process of jazz as something out there ". 

Commercially oriented or jazz-influenced popular forms have both long been criticized, at least since the emergence of Bop. Traditional jazz enthusiasts have dismissed Bop, the 1970's jazz . as a period of decline in the commercial value of music. According to Bruce Johnson, jazz music has always been tension "between commercial music and

jazz as an art form" notes Gilbert's. As the notion of the canon of jazz is developing, "past performance" may be "... a special privilege for the creativity ..." and innovation of artists at Village Voice. jazz critic Gary Giddins argues that as the creation and dissemination of jazz increasingly institutionalized and dominated by major entertainment firms, jazz is facing "a dangerous ... the future of dignity and acceptance are interested in" David Ake. warned that the creation of "norms" in jazz and the establishment of the jazz tradition "" may exclude or sideline other newer, avant-garde forms of jazz. Controversies also arise over new forms of contemporary jazz created outside the United States and depart significantly from the American style In one view they are an important part of jazz's development at this time;. in others they are sometimes criticized as a rejection of vital jazz traditions. 

Jazz can be very difficult to determine because it stretches from Ragtime waltzes to the fusion era of the 2000s. Although many attempts have been made to define jazz from the point of view outside jazz, such as using European music history or African music, jazz critic Joachim Berendt argues that all such efforts are not satisfactory. One way to get around the problem definition is to define jazz "term" is broader. Berendt defines jazz as a form of "art music which originated in the United States through the confrontation of blacks with European music", he argues that jazz differs from European music in the jazz that has a "special relationship to time, which is defined as 'swing'", " a spontaneity and vitality of musical production in which improvisation plays a role ", and" sonority and manner of expression which mirror the individuality of jazz musicians perform. " 
Travis Jackson also proposes a broader definition of jazz is capable of covering the entire era radically different: he claimed it was his music that includes qualities such as' swinging ', improvising, group interaction, developing an' individual voice, and be 'open' to possibility of different music Krin Gabbard claims that "jazz is a construct" or category that, while artificial, still is useful to designate "a number of musics with enough general to be understood as part of a coherent tradition". 
While jazz may be difficult to define, improvisation is clearly one of the key elements. Early blues is generally structured around a pattern of call-and-response over and over, a common element in the African American oral tradition. A form of folk music which rose in part from work songs and field hollers of rural Black, also very early blues improvisation. These features are fundamental to the nature of jazz. 
the elements of European classical music interpretation, ornamentation and accompaniment are sometimes left to the discretion of achievement, the main goal is the player plays as written composition. 
In jazz, however, expert players will interpret a song with a very individual ways, never playing the same composition exactly the same way twice. Depending on the mood of the players and personal experience, interaction with fellow musicians, or even members of the audience, a jazz musician / player can change the melodies, harmonies or time signature at will. European classical music composer media has said. Jazz, however, is often characterized as the product creativity egalitarian, interaction and collaboration, placing equal value on the contribution of composers and actors, 'agile weight [ing] the claims of each composer and improvisation'. 
In New Orleans and Dixieland jazz, performers took turns playing the melody, while others improvised countermelodies. With the swing era, big bands come to rely more on arranged music: arrangements whether written or learned by ear and memorized - many early jazz artists could not read music. Individual soloists would improvise within these arrangements. Later, in bebop the focus shifted towards small groups and minimal arrangements; melody (known as the "head") will be stated briefly at the beginning and end of the section, but the core of the performance will be a series of improvisations in the middle. Later jazz styles such as jazz up the idea of strict capital chord progress, which allows the individual musicians to improvise even more freely in the context of a particular scale or mode. avant-garde and free jazz idioms permit, even call, leaving the chords, scales, and rhythmic meters. 

The origins of the word jazz is one of the most sought-after word origins in modern American English. The word's intrinsic interest - American Dialect Society named it Kata Twenty Century - has generated considerable research, and its history is well documented. As described in more detail below, jazz began as a West Coast slang term around 1912, meaning that varies but does not refer to music or sex. Jazz came to mean jazz music in Chicago around 1915. Jazz played in New Orleans before that time, but it is not called jazz. 
Jazz says makes it one of the earliest appearance in San Francisco baseball writing in 1913. "Jazz was introduced to San Francisco in 1913 by William (Spike) Slattery, sports editor Call, and propagated by the leaders named Art Hickman's band is reached. Chicago in 1915 but not heard in New York until a year later." One uses the known The first of the word jazz appears in the March 3, 1913, article in the San Francisco baseball Bulletin by ET "Scoop" Gleeson.