摇摆时代的爵士乐经典:支持与反对

Inga A. Presnyakova
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引用次数: 0

摘要

古典爵士乐的诞生——将古典音乐以爵士乐的形式改编的实践——可以追溯到摇摆时代(从20世纪20年代后半期到40年代上半期)。在摇摆时代的古典音乐中,最明显的趋势是将主题从古典音乐作品(主要是类似歌曲的浪漫主义性质)转变为流行歌曲和舞蹈作品。高级古典音乐正在失去其作为严肃表演和聆听的音乐的地位,变成了“脚踏音乐”和音乐商业的商品。与此同时,从20世纪20年代到40年代的一些音乐样本预测了爵士乐实践的基本特征,作为爵士乐历史上的一个新阶段,开始于20世纪50年代和60年代的转折,即:巴洛克和古典主义音乐的参与,音乐会表演的类型,以及在结果音乐中保留原始作曲的整个音乐。尽管流传广泛,但古典爵士乐长期以来一直处于研究关注的阴影之下。同时,它可以成为一个多向量研究的主题-从转录技术到社会文化性质的重大问题。本文的重点是扩大文献和历史基础。通过对20世纪20年代至40年代美国期刊材料的分析,可以再现摇摆时代与古典爵士乐的对立局面。这篇文章的学术独创性在于扩展了与古典爵士乐历史相关的事实基础,将20世纪20年代和30年代美国期刊上以前不为人知的名字、作品和其他材料引入俄罗斯音乐学,并确定了摇摆时代爵士乐实践对其后续阶段的影响。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Swing Era’s Jazzing the Classics: Pro et Contra
The birth of jazzing the classics – the practice of jazz transcriptions of classical music – dates back to the Swing Era (from the second half of the 1920s to the first half of the 1940s). The most pronounced trend in jazzing the classics of the era of Swing was the transformation of themes from classical musical compositions (mostly, of a song-like romantic nature) into pop song and dance compositions. The high classics were losing their status of music for serious performance and listening, turning into “foot music” and a commodity for the music business. At the same time, some of the musical samples from the era from the 1920s to the 1940s anticipated such fundamental features of the practice of jazzing as a new stage in the history of jazz, which began at the turn of the 1950s and the 1960s, namely: the involvement of baroque and classicist music, concert types of performance, and the preservation of the entire music of the original composition in the resultant music. Despite its widespread distribution, jazzing the classics has long remained in the shadow of research attention. Meanwhile, it can become the subject of a multi-vector study – from techniques of transcription to major issues of a socio-cultural nature. The present article focuses its attention on expanding the documentary and historical base. An analysis of materials from the American periodicals from the 1920s to the 1940s makes it possible to recreate the pro et contra situation of the Swing Era in relation to jazzing the classics. The scholarly originality of the article lies in the expansion of the factual base associated with the history of jazzing the classics, the introduction of previously unknown names, compositions, and other materials of the American periodicals of the 1920s and 1930s into Russian musicology, and the identification of the influence of the jazzing practice of Swing Era on its subsequent stages.
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