{"id":377,"date":"2009-03-18T11:33:20","date_gmt":"2009-03-18T10:33:20","guid":{"rendered":"https:\/\/jazzresearch.org\/?p=377"},"modified":"2019-03-29T12:34:53","modified_gmt":"2019-03-29T11:34:53","slug":"jazzforschung-41-2009","status":"publish","type":"post","link":"https:\/\/jazzresearch.org\/en\/jazz-research\/jazzforschung-41-2009\/","title":{"rendered":"Jazzforschung \/ Jazz Research 41 (2009)"},"content":{"rendered":"

\u201eDown Beat\u201c-Umfragen 1953-2008<\/strong>
\nBilly Joel \/ Frank Sinatra \/ Diana Krall<\/strong>
\nSlovak and Czech Jazz Emigrants after 1948<\/strong>
\nThe Fugal Works of The Modern Jazz Quartet<\/strong>
\nSouth Africa, Black America, and Jazz<\/strong>
\nRed Nichols\u2018 1950s Recordings<\/strong>
\nAlan Croslands \u201eThe Jazz Singer\u201c<\/strong>
\nImprovisation im 19. Jahrhundert<\/strong><\/p>\n

Inhalt\/Contents:<\/h5>\n

Christa Bruckner-Haring<\/strong><\/p>\n

Eine Betrachtung der Leser- und Kritikerumfragen der Zeitschrift \u201eDown Beat\u201c im Zeitraum 1953-2008<\/p>\n

Summary<\/h5>\n

The renowned American jazz magazine Down Beat organizes an annual Readers Poll (since 1936) and an annual Critics Poll (since 1953), where the favourite musicians and albums in various categories can be chosen. Additionally tot he Established Talents, the critics nominate new talents, the so-called Rising Stars. Publishing the results of those polls (Critics Poll in August, Readers Poll in December), Down Beat every year presents a canon oft he most popular jazz musicians.<\/p>\n

The paper on hand examines the following aspects of this canonisation:<\/strong><\/p>\n

    \n
  • voting behaviour of the readers during the investigation period (1953-2008) and specific examples<\/li>\n
  • comparison of Critics Poll and Readers Poll concerning a possible manipulation of the readers by examining concordant results in categories and placings<\/li>\n
  • subsequent development of the elected Rising-Star-winner in the Readers Poll and Established Talent-choice of the Critics Poll<\/li>\n
  • summary of the voting results as well as a comparison of the two polls<\/li>\n<\/ul>\n

    For the statistic analyses, the data of 12 selected (constantly eligible) categories since 1953, the year of the first Critics Poll, is used. The selected categories are: Trumpet, Trombone, Alto Sax, Tenor Sax, Baritone Sax, Clarinet, Acoustic Piano, Guitar, Acoustic Bass, Drums, Male Vocalist and Female Vocalist. Of these categories, the Top-5-placings were analysed, whereas the number of the given points of the critics and casted ballots of the readers enable the calculation of the relative ratio of the votes, and thus direct comparisons of both polls can be made.<\/p>\n

    M\u00e1rton Szegedi<\/strong><\/p>\n

    \u201cJust The Way You Are\u201d in den Interpretationen von Billy Joel, Frank Sinatra und Diana Krall: Ein Vergleich der gesanglichen Stilistik<\/p>\n

    Summary<\/strong>
    \nThe analytical investigation on hand compares three vocal interpretations of the tune Just The Way You Are. The first one stems from the composer of this tune, Billy Joel, and was recorded in 1977. The second one is a 1979 orchestra version with Frank Sinatra, and the last one was recorded in 2002 by Diana Krall and her band.<\/p>\n

    The recordings as well as detailed transcriptions by the author are the basis for a musical analysis, which especially focuses dynamics, portamenti, intonation, and rhythmical aspects.<\/p>\n

    Yvetta Kajanov\u00e1<\/strong><\/p>\n

    Slovak and Czech Jazz Emigrants after 1948<\/p>\n

    Zusammenfassung<\/strong>
    \nIn der \u00c4ra des totalit\u00e4ren kommunistischen Regimes in der Tschechoslowakei wurde das intellektuelle Niveau der am Jazz interessierten Menschen von der Jazzov\u00e1 sekce, der Jazz-Sektion, repr\u00e4sentiert. Sie wurde 1969 im Rahmen des Musikverbandes gegr\u00fcndet, ihr Vorsitzender von Karel Srp, Journalist und Dissident des sozialistischen Regimes. Wegen seiner illegalen T\u00e4tigkeit \u2013 der Herausgabe und Ver\u00f6ffentlichung von Informationen \u00fcber Jazz und Rockmusik in Form von Samisdat-Ausgaben \u2013 wurde Srp 1987 verhaftet. 1989 wurde die Jazz-Sektion in eine neue Institution, das Artforum, \u00fcbergef\u00fchrt, deren Mitglieder den Aufruf des B\u00fcrgerforums (Ob\u010dianske f\u00f3rum), dieser ersten b\u00fcrgerlichen Massenbewegung der \u201eSamtenen Revolution\u201c des Jahres 1989, unterzeichneten.<\/p>\n

    Die Jazz-Sektion balancierte zwischen intellektuellen und alternativen Str\u00f6mungen des Jazz, des Rock und der Popmusik. Sie repr\u00e4sentierte nicht den Mainstream des Jazz, vertrat aber alle aus der Sicht der kommunistischen Wirtschaft und Ideologie verbotenen und unzul\u00e4ssigen Aktivit\u00e4ten (Ver\u00f6ffentlichung unabh\u00e4ngiger Publikationen sowie verbotener Alben auf Musikkassetten und Tonb\u00e4ndern). Die T\u00e4tigkeit legaler Institutionen \u2013 der Tschechischen Jazzgesellschaft und der Slowakischen Jazzgesellschaft \u2013 war hingegen formell und diente als ideologisches Werkzeug in den H\u00e4nden der Kommunisten.<\/p>\n

    Die Hauptaufgabe der Jazz-Sektion bestand darin, w\u00e4hrend des realen Sozialismus als Sprachrohr seiner Mitglieder zu dienen, um dadurch das f\u00fcr die Musikaus\u00fcbung notwendige Netzwerk (Public Relations) zu schaffen. Derart ersetzte dies die T\u00e4tigkeit der offiziellen Institutionen der Musikindustrie, ohne sich jedoch in der monopolisierten Wirtschaft der Tschechoslowakischen Sozialistischen Republik tats\u00e4chlich entfalten zu k\u00f6nnen.<\/p>\n

    Geriet die radikale Haltung von Musikern mit der kommunistischen Ideologie in Konflikt, wurde dies mit dem Verbot \u00f6ffentlicher Auftritte geahndet, und die Betroffenen fanden den Ausweg aus dieser Situation nicht selten in der Emigration. Wollten sie mit ihren Familien in einem sozialistischen Land leben und sich dort sch\u00f6pferisch bet\u00e4tigen, mussten sie jedoch ihre Loyalit\u00e4t bezeugen und balancierten daher, trotz aller Kompromisse, oft an der Grenze zwischen geltendem Recht und illegaler T\u00e4tigkeit. Dank ihrer Bestrebungen gelang es jedoch, Veranstaltungen wie das Tschechoslowakische Amateur Jazz Festival in P\u0159erov (1966), Festival in Karlovy Vary (1962) und Krom\u011b\u0159\u00ed\u017e (1975), die Jazz-Trage Bratislava (1975) und das Internationale Jazz Festival in Prag (1977) zu etablieren. Unterst\u00fctzung fand dies nicht zuletzt durch den internationalen Erfolg und die Reputation von Emigranten wie Jan Hammer, Miroslav Vitou\u0161, George Mraz, Ladislav D\u00e9czi und Jan Jankeje.<\/p>\n

    Christopher Coady<\/strong><\/p>\n

    Ellington in the Third Stream: A New Perspective on the Fugal Works of The Modern Jazz Quartet<\/p>\n

    Zusammenfassung<\/strong>
    \nDie Fugenwerke von John Lewis, dem Komponisten und Pianisten des Modern Jazz Quartet, erreichten bereits legend\u00e4ren Status im Bereich des gut gemeinten, jetzt scharf kritisierten Third Stream-Experiments. Wie bei den meisten Jazzexperimenten werden auch die Fugen sehr kontroversiell betrachtet und sind sowohl Inhalt zahlreicher Rezensionen \u00fcber die erfolgreiche Europatournee der Gruppe im Jahr 1958 wie auch Grundlage f\u00fcr Kritiker, die selbige Status-suchende Musik als Affront gegen\u00fcber der Jazztradition empfanden (New York Times, 3. November 1960). In beiden F\u00e4llen diskutierte man die Legitimation von Lewis\u2018 Experiment im Zusammenhang mit der Effektivit\u00e4t, mit der ein konventioneller europ\u00e4ischer Kompositionsstil in den Jazz integriert wurde. Die Voraussetzung dieser Kontroverse steht aber in klarem Gegensatz zu Lewis\u2018 wiederholter Beteuerung, seinem Kompositionsstil liege lediglich der Einfluss von Duke Ellington zugrunde.<\/p>\n

    In diesem Artikel werden die M\u00e4ngel jener Versuche diskutiert, diese Werke in einem europ\u00e4ischen Kontext des kompositionellen Prozesses zu analysieren, indem Inkonsistenzen im Gebrauch fugaler Sprache und Theorie aufgezeigt werden. Diese Neubeurteilung leistet einen Beitrag zur Debatte \u00fcber Lewis\u2018 Einsatz markanter Elemente von Ellingtons Kompositionsstil, wie etwa formale Konstruktion, harmonischer Inhalt und Orchestrierung. Eine Analyse von Lewis\u2018 Fugen im Zusammenhang mit Ellingtons Einfluss zeigt, wie unklar oder oft zitierte europ\u00e4ische Einfluss auf die Musik des Third Stream ist und dass die Marginalisierung dieses Genres eher einer Stigmatisierung folgt als dass sie inhaltlich begr\u00fcndet ist.<\/p>\n

    Nanette de Jong<\/strong><\/p>\n

    South Africa, Black America, and Jazz: A Trans-Atlantic Dialogue<\/p>\n

    Zusammenfassung<\/strong>
    \nJazz erm\u00f6glichte einen transatlantischen Dialog, der die schwarze Bev\u00f6lkerung S\u00fcdafrikas dazu ermutigte, ihren Blick auf das schwarze Amerika zu richten, um daraus St\u00e4rke und Strategien zu sch\u00f6pfen f\u00fcr ihren Kampf gegen \u00e4hnliche rassenbedingte Vorurteile. Daraus ergaben sich eine erh\u00f6hte Bewusstheit des schwarzen S\u00fcdafrika wie auch eine St\u00e4rkung der kulturellen Werte, was dazu beitrug, das neu sensibilisierte Zusammengeh\u00f6rigkeitsgef\u00fchl unter der schwarzen Bev\u00f6lkerung S\u00fcdafrikas zu inspirieren, in Erinnerung zu behalten und zu festigen. Der vorliegende Aufsatz thematisiert die Entwicklung einer Verbindung des schwarzen S\u00fcdafrika mit dem schwarzen Amerika anhand einer Analyse des Jazz. Es wird gezeigt, dass der Jazz des schwarzen Amerika in seiner einzigartigen s\u00fcdafrikanischen Auspr\u00e4gung lokale kulturelle Trends initiierte und, in seinen Auswirkungen auch auf sozialer Ebene, zur Hinterfragung von Konventionen wie Identit\u00e4t und kulturelle Grenzen beitrug.<\/p>\n

    Frank Murphy<\/strong><\/p>\n

    Red Nichols And His Five Pennies: The 1950s Recordings<\/p>\n

    Conclusions<\/strong>
    \nNichols\u2019 solos and leads from the 1950s recordings make use of two main strategies: paraphrase technique and correlated phrasing. The first of these relies upon rhythmic and melodic procedures for its impact. The former includes four methods: shortening, lengthening, anticipating and delaying. These things are used universally or almost so. The latter encompasses repetition and some elective techniques. The first of these (repetition) and the four rhythmic elements form the core of the method. The additional strategies take in octave transposition up and down, the insertion of unessential notes, approaching a note with an ascending glissando, quitting a note with a descending glissando and some others.<\/p>\n

    Correlated phrasing relies upon four factors for its success: phrases of similar length, rhythmic figures, pitch motifs and reiterated harmonic extensions. In the recordings from this period, phrase lengths do not seem to play a particularly significant part in the process. Rather, cohesion appears to stem from rhythmic motifs (especially the dotted quaver \/ semiquaver figure), two-note pitch motifs, which are modified by a variety of methods and combinations thereof, as well as a small number of harmonic additions and the blue note third of chord and key.<\/p>\n

    Once the derivative aspects of Nichols\u2019 work were removed, some idea of the characteristics of his style could be gained. The contexts of Nichols\u2019 improvisations were examined in two categories: the recordings which have a crotchet pulse and the ones which have a minim beat. If there is a pattern of works in the first classification, it would consist of a four-bar introduction, two choruses and a two-bar coda. Similarly, if there is a formula for discs in the second group, it would be a brief introduction, four of five choruses with the first and last performed by the ensemble, a cornet solo in the third chorus and a short coda.<\/p>\n

    The tempo markings also fall into the same two categories. There was only limited evidence of common tempos across the various recordings. The Rhythmic motifs were also considered in the same two classifications. A significant number of figures was found to pertain to each category.<\/p>\n

    The keys employed on the discs are nearly always major ones, the most common being Bb, F, Eb and C. Nichols tended to use a relatively limited range on his instrument, with little differentiation between solo and lead passages. Likewise, he did not resort to special effects to any great degree.<\/p>\n

    The improvisations encompass a collection of harmonic extensions which are implied by the melody lines of the solos and the leads. The most significant degrees of the scale were I, II, IV, V and VI. Seven chords emerged as the most prominent ones, these being IM6, II7, II9, VM6, V7, V9 and VI9. The most commonly used chord types utilised the intervals of the major sixth, minor seventh and major ninth. Blue note thirds of chord and key alone were also an important element in the harmonic scheme. There was little evidence of recurrent motifs in the various passages.<\/p>\n

    During the 1950s, Nichols was featured as a trumpet stylist on a substantial number of dics. Such performances usually have a crotchet pulse and a relatively slow tempo. In each example, the original melody is paraphrased using the core of the technique together with some of the additional pitch strategies. The remnants of the original composition are then decorated with derivations from some implied harmonic additions and clothed in a relatively simple rhythmic framework. Alternative recordings of several titles were extant from the 1950s. Such discs proved to be a fertile field for comparisons and contrasts.<\/p>\n

    Lisa Gotto<\/strong><\/p>\n

    \u201cTrans \/ formieren\u201d. Zum Verhaltnis von Bild und Ton in \u201cThe Jazz Singer\u201d (Alan Crosland, USA 1927)*<\/p>\n

    Summary<\/strong>
    \nAs the film The Jazz Singer (Alan Crosland, USA 1927) launched the talking-motion-picture era, it is considered to be a milestone in movie history. Accordingly, critical debates tend to concentrate on its spectacular technical innovation, e. g. its placing of sound into film. However, during the so-called \u201csilent era\u201d, there had been several attempts to synchronize musical accompaniment to moving pictures. The technical introduction of sound dates back to early experiments in the 1910s; moreover, sound systems like \u201cVitaphone\u201d popularized a series of music shorts in the mid-1920s by using records in synchronisation with filmic images. Taking into account these technical developments, the tremendous success of The Jazz Singer cannot be reduced to its involvement in sound technology. Therefore, it needs to be stressed that in The Jazz Singer, music does not just accompany the moving image; it becomes a primary vehicle for the very process of transition itself, that is to say of the bridging of two distinct types of media logics. Since it raises tensions between sound and vision as well as between the musically old and the musically new, it does not try to amalgate conflicting positions but insists on mediating to the realm of the film\u2019s diegesis but extends to the wider discursive field that surrounds it. The Jazz Singer produces balances as well as changes of balances \u2013 and it combines them to historically new figures of audio-visual narratives. As a result, its contribution to the cultural power of sound film rests on its reflective transformation of musical idioms, of visual strategies, of mainstream vernaculars. By constructing transfer points for the articulation of sound and vision, by creating innovative forms of media expression, it delineates new ideas for what strives against the accepted.<\/p>\n

    Andreas Eichhorn<\/strong><\/p>\n

    Improvisation im 19. Jahrhundert. Traditionen einer Musikpraxis zwischen Geniekult und Handwerk \u2013 in historischer Perspektive**<\/p>\n

    Improvisation was a widespread practice, even in the public concert hall, until at least the mid-nineteenth century. This contribution will illuminate the phenomenon of improvisation from two angles. First, improvisation is placed in the context of the aesthetics of genius: the hearer perceived the simultaneity of production and reproduction as a magical moment which was characterised as the expression of genius. This may be demonstrated from eye-witness reports and from literary accounts of improvisation, in which the listener seems to be granted access to the innermost levels of the \u201cworking soul\u201d of the creative genius. At late attestation of this conception is Pfitzner\u2019s opera \u201cPalestrina\u201d, in which the eponymous composer, improvising at the organ, is characterised as the other-worldly genius, the artist par excellence. This aesthetic of the auditor, which enters the tradition with C. P. E. Bach, is set against the aesthetic of production then current among composers, whose conception tended to the pragmatic and realistic. Improvisation was seen as a communicable and acquirable skill, and formed an integral part of musical education. The various functions of nineteenth century improvisation will be discussed on the basis of numerous source attestations.<\/p>\n","protected":false},"excerpt":{"rendered":"

    \u201eDown Beat\u201c-Umfragen 1953-2008 Billy Joel \/ Frank Sinatra \/ Diana Krall Slovak and Czech Jazz Emigrants after 1948 The Fugal Works of The Modern Jazz Quartet South Africa, Black America, and Jazz Red Nichols\u2018 1950s Recordings Alan Croslands \u201eThe Jazz Singer\u201c Improvisation im 19. Jahrhundert Inhalt\/Contents: Christa Bruckner-Haring Eine Betrachtung der Leser- und Kritikerumfragen der […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-377","post","type-post","status-publish","format-standard","hentry","category-jazz-research"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/377","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/comments?post=377"}],"version-history":[{"count":6,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/377\/revisions"}],"predecessor-version":[{"id":861,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/377\/revisions\/861"}],"wp:attachment":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media?parent=377"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/categories?post=377"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/tags?post=377"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}