ARTISTIC DIALOGUES OF JAZZ AND AVANT-GARDE ACADEMIC TRADITION

Abstract

The article is devoted to the dialogue between the two artistic traditions of the twentieth century such as the art of jazz and avant-garde music. The main purpose of this article is to examine the phenomenon of jazz as a musical art that engages in dialogue with the academic avant-garde directions. To get the goal we have to find out the reasons of

jazz "appealing" to the avant-garde compositional techniques, to analyze the dialogic nature of jazz in the oppositions' jazz – avant-garde". Jazz art is dialogic by its nature: a dialogue between two traditions (academic, avant-garde and jazz). It comes from both jazz (mastering the principles of the avant-garde language) and academic composers. Thus, the association of jazz with avant-garde academic tradition defined bold experiments in the emergence of a new era jazz art-modern jazz. A feature of this process is the absence of mechanically combining audio languages two different directions, and is a specific form of dialogue arts. It is proved that in trends of modern jazz dialogically almost all the compositional and technical principles of the academic avant-garde art such as dodecaphony technique, sonority, aleatory, concrete music, happenings, etc are intertwined. Such stylistic variety of the new jazz art as bebop, cool jazz, modal, atonal, free jazz, and etc. is the result of the synthesis of the jazz tradition and the radical achievements in the twentieth century avant-garde music. The author emphasized that the study of problems of the so-called avant-garde jazz, conducted mainly in Western researchers, especially in the works of J. Berendt, A. Morgan, R. Horriksa, H. Hellhunda, F. Wilmer, G. Schuller and others. In the Russian language literature studying of free jazz is represented less than the studying of archaic (traditional) jazz art. The Russian-language research base is represented by works Je Barban, W. Kohnen, Je Ovchinnikov, O. Chernishova, A. Fischer, F. Shaka et al. Analyzing the domestic literature on this subject, we can say that the lack of consideration of the problem dialogicality "relationship" between the jazz tradition and avant-garde type of thinking that causes the relevance and direction author’s studying. The author of the article analyzes the main stages of the formation of modern-jazz. Thus, the origins of jazz "revolution" in the 1940s relate to surveying the two styles: swing – the climax of the former and bebop – the first course of modern jazz. Failure of African-American intellectuals of the 1940s, the orientation at mass audience and dance lifted jazz art to a new level.

In 1940s jazz determined departure from the aesthetics of popular art to the aesthetics of art elite. Jazz concert practice, which found expression in the dance culture transformed from the practice of academic art to the hearing. On modification of jazz wagged possibility of professional education in colleges or universities who have used many jazzmen. Cool jazz ("Intelligent Jazz"), serialism, free jazz, jazz happenings are basic currents of art, which are

characterized by features of the technique. The article describes the features of the innovations in the technique of execution of each of the styles. Among the representatives of the avant-garde jazz in serial techniques were Don Ellis, Wolfgang Downer, Andrew and Alexander von Tzhaskovsky Slippenbach who was one of the leading improvisers Europe. E. Barban focuses on the fact that the attempts of bringing art to the new series of jazz were not fruitful. The reason of it, the researcher sees in jazz specifics "improvisation, especially swing, great importance of personal expressiveness – not fit well with the rationalist logic of total serialism." Interest creativity avant-garde jazz musicians, in particular, J. Cage, K. Stockhausen, P. Boulez has actually led to the birth of free jazz style. Structurally, free jazz is a continuation of the academic avant-garde experiments. Therefore, focusing on the academic music of the XX century and mastering modern compositional techniques, the new generation of jazz musicians trying moved away from the tradition of the perception of jazz as an art entertainment and eager to be perceived on a par with the "serious" music.

The author emphasized the desire of representatives of so-called avant-garde jazz to direct all their efforts to ensure that dialogue between the two traditions (academic, avant-garde and jazz) would be constant and bilateral, importance and relevance of the dialogue between the avant-garde composers and professional components of the language of jazz.