David Warren Brubeck passed away on December 5, 2012, which was one day before his 92th birthday on December 6. He was an American jazz pianist and composer, considered one of the foremost exponents of cool jazz. Many of his compositions have become jazz standards。His mother taught him how to play piano, but he’s never learned to read music. Later, as a student at the College of the Pacific, he was nearly expelled when one of his professors discovered that he couldn't read music, even he played well enough that this deficiency went mostly unnoticed. The college eventually agreed to let Brubeck graduate only after he promised never to teach piano.
肯德里克·拉马尔 (Kendrick Lamar) 的 2015 年专辑“ To Pimp a Butterfly ”既是爵士乐专辑，又是说唱专辑，这要归功于拉马尔与萨克斯演奏家卡马西·华盛顿( Kamasi Washington)的合作。华盛顿还在圣丹斯电影节制作了一部短片，“As Told to G/D Thyself”，改编自他的专辑“Heaven and Earth”。
Lamar 的专辑是一个启示，它激发了 David Bowie 以爵士乐团作为他最后一张摇滚专辑“ Blackstar ”的支持乐队。
February 7, 2019 6.35am EST Author Adam Gustafson Instructor in Music, Penn State
Disclosure statement Adam Gustafson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
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Penn State provides funding as a founding partner of The Conversation US.
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CC BY ND We believe in the free flow of information Republish our articles for free, online or in print, under Creative Commons licence. Email Twitter54 Facebook2.4k LinkedIn Print Jazz seems to be experiencing a bit of a renaissance among movie directors – look no further than documentaries such as “Miles Davis: Birth of the Cool,” which just premiered at the Sundance Film Festival, biopics such as “Born to Be Blue,” and recent Oscar winners like “Whiplash.”
While films about jazz are everywhere, evidence suggests that fewer people are actually consuming the music, putting the genre more on par with classical music than with today’s pop artists.
There are a host of reasons for the decline of jazz as a popular music, but the one that interests me as a music historian is the role that academics played.
In our attempt to elevate jazz to the ivory tower, we may have inadvertently helped to kill it as a popular style.
Read news coverage based on evidence, not alarm. However, all is not lost. While the genre might seem destined for academic obscurity, jazz continues to kick around in popular music – just in subtler ways.
Jazz captivates the country In the 1920s, during the early years of the Great Migration, waves of black Americans migrated from the South into the industrial cities of the North. Black jazz musicians, particularly those from New Orleans, brought their sound with them. They moved to neighborhoods such as The Stroll in Chicago, Black Bottom in Detroit, 12th Street and Vine in Kansas City and, of course, Harlem. This occurred just as the record industry blossomed and radios became mainstays in American homes.
Jazz was well-positioned to become the most popular genre of music in the nation.
Over the next decade, the genre underwent a transformation. Artists began to amass larger ensembles, fusing the energy of jazz with the volume of dance bands. The Swing Era was born, and jazz orchestras dominated pop charts.
During the Swing Era, the Lindy Hop was a popular dance. UCLA These developments led to a new set of issues. Larger bands meant less freedom to improvise, the cornerstone of jazz. During the 1940s, music recordings became increasingly important, and jazz musicians found themselves frustrated with how little they were being paid, resulting in a series of strikes by the American Federation of Musicians.
By the time these problems were resolved, America’s youth had already begun gravitating toward new styles of R&B and country, which would eventually morph into rock ‘n’ roll:
After that, jazz never really recovered.
From the club to the classroom Jazz underwent another, more subtle, shift during that same time period: It left the club and went to college.
After World War II, jazz genres fractured and the music became more complex. It also became popular among college students. Dave Brubeck Quartet released several albums in the early 1950s that acknowledged the group’s popularity with the college crowd, including “Jazz at Oberlin” and “Jazz at the College of the Pacific.”
Perhaps university administrators wanted to elevate a distinctly American genre to a status of “high art.” Or, maybe they just wanted to capitalize on jazz’s popularity among college students. Either way, universities started to create curriculums geared towards the genre, and by the end of the 1950s, several institutions, such as the University of North Texas and the Berklee College of Music, had jazz programs up and running.
In the classroom, jazz was explored in a new way. Rather than hearing jazz played while grinding on a dance floor, it became something to dissect. In one of the earliest jazz histories, “The Story of Jazz,” musicologist Marshall Stearns captures this shift. He begins his book by explaining how difficult it is to categorize the spirit of jazz. He then spends over 300 pages trying to do just that.
Popular culture began to reflect jazz’s shifting identity as the music of educated people. The 1953 film “The Wild One” features a bouncing big band soundtrack that underscores the shenanigans of a motorcycle gang led by Marlon Brando.
Just two years later, “Blackboard Jungle,” also features delinquent kids – except this time, they prefer the sound of Bill Haley. In one scene, their math teacher tries to get the kids to appreciate his collection of jazz records. The scene ends with the kids beating the teacher and breaking his records.
‘Music is based on mathematics, and – it’s just, the next class is a little more advanced.’ Jazz had gone from the music of youthful rebellion to that of the cultured elite.
During the 1960s, jazz may have been as eclectic as ever. But academics like historian Neil Leonard continued to push for jazz to be made into a serious subject of academic inquiry, as he argued in his book “Jazz and the White Americans.” Professional groups devoted to the study of jazz education were founded, such as the National Association for Jazz Education.
During the 1970s and 1980s, introductory jazz courses started to reach critical mass and led to the growth of what jazz critic Nate Chinen dubbed the “jazz-education industry.” Playing jazz required a college degree. Jazz had become the music of the educated. It was the music of Cliff and Clair Huxtable, one a doctor and the other a lawyer, from “The Cosby Show.”
Just don’t call it ‘jazz’ In the last 20 years, jazz’s identity as an academic art form has only grown. At my institution, almost all of the non-classical course offerings in the music school are about jazz.
Today, in any given semester on any given campus, you can find college students sitting in classrooms at 9 a.m. on a Tuesday trying to absorb the importance and complexity of a music meant to be heard in a club at 2 a.m. on a Saturday. It’s become brussels sprouts for budding music aficionados: You know it’s good for you, but it doesn’t necessarily taste all that great.
Outside of the classroom, a dwindling audience base has forced traditional jazz venues to play into the notion of jazz as an educated person’s music. The current iteration of Minton’s Playhouse, a club that was once a bastion of jazz energy, now calls jazz “America’s classical music” in an attempt to raise the profile of the genre (and perhaps justify the cost of the steaks being served there).
Other venues have minimized jazz. This year’s New Orleans Jazz and Heritage Festival will feature decidedly non-jazz artists such as Katy Perry, The Rolling Stones and Chris Stapleton.
Despite jazz’s distance from its popular roots, a little digging shows that we still like listening to jazz more than we think. We just stopped openly calling it jazz.
Kendrick Lamar’s 2015 album “To Pimp a Butterfly” is every bit as much a jazz album as it is a rap album, thanks to Lamar’s collaboration with the saxophonist Kamasi Washington. Washington also had a short film, “As Told to G/D Thyself,” based on his album, “Heaven and Earth,” at Sundance.
Lamar’s album was such a revelation that it inspired David Bowie to feature a jazz ensemble as his backing band for his final rock album, “Blackstar.”
Meanwhile, the music collective Snarky Puppy has become an international sensation by creating long-form jazz works while avoiding any specific labels. Another music collective, Scott Bradlee’s Postmodern Jukebox, has found a way to keep the sound of jazz alive – and to embrace jazz’s lighter side – by transforming contemporary pop songs into historical jazz genres.
With academia positioning jazz as art music, the genre is unlikely to experience a popular resurgence any time soon.
But today’s artists are proving that the spirit of jazz is alive and well, and that jazz is much more than its name.
Maybe this is fitting: The earliest jazz musicians didn’t call their music “jazz” either. Instead, they blended their sound with pre-existing pop genres, and, in doing so, created one of the most distinct forms of music in American history.
David Warren Brubeck passed away on December 5, 2012, which was one day before his 92th birthday on December 6. He was an American jazz pianist and composer, considered one of the foremost exponents of cool jazz. Many of his compositions have become jazz standards。His mother taught him how to play piano, but he’s never learned to read music. Later, as a student at the College of the Pacific, he was nearly expelled when one of his professors discovered that he couldn't read music, even he played well enough that this deficiency went mostly unnoticed. The college eventually agreed to let Brubeck graduate only after he promised never to teach piano.
he became the greatest jazz icon in Jazz academia.
This is exactly the definition of academia jazz.
1. 学院派，到底是爵士乐的促进者，还是扼杀者。
2. 不识谱的音乐家，算音乐家吗？
学术界杀死了爵士乐吗？ 美国东部时间 2019 年 2 月 7 日上午 6 点 35 作者
宾夕法尼亚州立大学音乐教师
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伙伴宾夕法尼亚州立大学作为 The Conversation US 的创始合作伙伴提供资金。
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爵士乐似乎在电影导演中经历了一些复兴——看看刚刚在圣丹斯电影节首映的“迈尔斯·戴维斯：酷的诞生”等纪录片，以及“生而为蓝”等传记片，和最近的奥斯卡奖得主，比如“鞭打”。
虽然关于爵士乐的电影无处不在，但有证据表明，真正消费这种音乐的人较少，与当今的流行艺术家相比，这种类型与古典音乐更接近。
爵士乐作为一种流行音乐的衰落有很多原因，但作为音乐史学家，令我感兴趣的是学术界所扮演的角色。
在我们试图将爵士乐提升为象牙塔的过程中，我们可能无意中帮助扼杀了它作为一种流行风格。
阅读基于证据的新闻报道，而不是警报。 获取时事通讯然而，并没有失去一切。虽然这种流派似乎注定要在学术上默默无闻，但爵士乐继续在流行音乐中流行——只是以更微妙的方式。
爵士乐让这个国家着迷在 1920 年代，在大迁徙的早期，一波又一波的美国黑人从南方迁移到北方的工业城市。黑人爵士音乐家，尤其是来自新奥尔良的音乐家，带来了他们的音乐。他们搬到街区，如在芝加哥闲逛，黑底在底特律，12街和藤在堪萨斯城，当然，哈林。这发生在唱片业蓬勃发展和收音机成为美国家庭的支柱之际。
爵士乐成为美国最受欢迎的音乐流派。
在接下来的十年里，这一流派经历了一场变革。艺术家们开始聚集更大的乐团，将爵士乐的能量与舞蹈乐队的数量融合在一起。摇摆乐时代诞生了，爵士乐团统治了流行音乐排行榜。
这些发展导致了一系列新问题。更大的乐队意味着更少的即兴创作自由，爵士乐的基石。在 1940 年代，音乐录音变得越来越重要，爵士音乐家发现自己对自己的报酬如此之低感到沮丧，导致美国音乐家联合会发起了一系列罢工。
当这些问题得到解决时，美国的年轻人已经开始被新的 R&B 和乡村风格所吸引，这些风格最终会演变成摇滚乐：
在那之后，爵士乐再也没有真正恢复过来。
从俱乐部到教室爵士队在同一时期经历了另一个更微妙的转变：它离开了俱乐部去上大学。
二战后，爵士乐流派分崩离析，音乐变得更加复杂。它也开始受到大学生的欢迎。戴夫·布鲁贝克四重奏在 1950 年代初期发行了几张专辑，承认该乐队在大学人群中的受欢迎程度，包括“欧柏林爵士乐”和“太平洋学院爵士乐”。
也许大学管理人员想将一种明显的美国流派提升到“高级艺术”的地位。或者，也许他们只是想利用爵士乐在大学生中的流行。无论哪种方式，大学都开始针对这种流派开设课程，到 1950 年代末，北德克萨斯大学和伯克利音乐学院等几所大学开设并运行了爵士乐课程。
在课堂上，爵士乐以一种全新的方式进行了探索。与其在舞池里磨练爵士乐，不如听听爵士乐的演奏，它变成了一种需要剖析的东西。在最早的爵士乐历史之一“爵士乐的故事”中，音乐学家马歇尔·斯登捕捉到了这种转变。他在这本书的开头解释了对爵士精神进行分类是多么困难。然后他花了 300 多页试图做到这一点。
流行文化开始反映出爵士乐作为受过教育的人的音乐身份的转变。1953 年的电影“
仅仅两年后，“
爵士乐已经从青年叛逆的音乐变成了有文化的精英的音乐。
在 1960 年代，爵士乐可能和以往一样不拘一格。但是，像历史学家尼尔伦纳德这样的学者继续推动爵士乐成为学术研究的一个严肃主题，正如他在他的书“爵士乐和美国白人”中所说的那样。成立了致力于爵士教育研究的专业团体，如全国爵士教育协会。
在 1970 年代和 1980 年代，爵士乐入门课程开始达到临界点，并导致爵士乐评论家 Nate Chinen 称之为“爵士教育行业”的发展。演奏爵士乐需要大学学位。爵士乐已经成为受过教育的人的音乐。这是来自“The Cosby Show”的 Cliff 和 Clair Huxtable 的音乐，一个是医生，另一个是律师。
只是不要称之为“爵士乐”在过去的 20 年里，爵士乐作为一种学术艺术形式的身份越来越高。在我所在的机构，音乐学院几乎所有的非古典课程都与爵士乐有关。
今天，在任何给定校园的任何给定学期中，你会发现大学生周二早上 9 点坐在教室里，试图吸收周六凌晨 2 点在俱乐部听到的音乐的重要性和复杂性。它已成为初出茅庐的音乐爱好者的抱子甘蓝：你知道它对你有好处，但它的味道不一定那么好。
在课堂之外，不断减少的观众群迫使传统的爵士乐场所将爵士乐视为受过教育的人的音乐。Minton's Playhouse的当前迭代，一个曾经是爵士能量堡垒的俱乐部，现在称爵士乐为“美国的古典音乐”，以试图提高这一流派的形象（也许可以证明在那里供应牛排的成本是合理的）。
其他场所已将爵士乐降至最低。今年的新奥尔良爵士和传统音乐节将邀请非爵士艺术家，如凯蒂·佩里、滚石乐队和克里斯·斯台普顿。
尽管爵士乐与其流行根源相距甚远，但稍微挖掘一下就会发现，我们仍然比想象中更喜欢听爵士乐。我们只是不再公开称它为爵士乐。
肯德里克·拉马尔 (Kendrick Lamar) 的 2015 年专辑“ To Pimp a Butterfly ”既是爵士乐专辑，又是说唱专辑，这要归功于拉马尔与萨克斯演奏家卡马西·华盛顿( Kamasi Washington)的合作。华盛顿还在圣丹斯电影节制作了一部短片，“As Told to G/D Thyself”，改编自他的专辑“Heaven and Earth”。
Lamar 的专辑是一个启示，它激发了 David Bowie 以爵士乐团作为他最后一张摇滚专辑“ Blackstar ”的支持乐队。
与此同时，音乐团体 Snarky Puppy通过创作
由于学术界将爵士乐定位为艺术音乐，这一流派不太可能在短期内重新流行起来。
但是今天的艺术家正在证明爵士乐的精神是活生生的，而且爵士乐不仅仅是它的名字。
也许这是合适的：最早的爵士音乐家也不称他们的音乐为“爵士”。取而代之的是，他们将自己的声音与已有的流行音乐流派融合在一起，从而创造了美国历史上最独特的音乐形式之一。
February 7, 2019 6.35am EST
Author
Adam Gustafson
Instructor in Music, Penn State
Disclosure statement
Adam Gustafson does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
Partners
Penn State
Penn State provides funding as a founding partner of The Conversation US.
View all partners
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Jazz seems to be experiencing a bit of a renaissance among movie directors – look no further than documentaries such as “Miles Davis: Birth of the Cool,” which just premiered at the Sundance Film Festival, biopics such as “Born to Be Blue,” and recent Oscar winners like “Whiplash.”
While films about jazz are everywhere, evidence suggests that fewer people are actually consuming the music, putting the genre more on par with classical music than with today’s pop artists.
There are a host of reasons for the decline of jazz as a popular music, but the one that interests me as a music historian is the role that academics played.
In our attempt to elevate jazz to the ivory tower, we may have inadvertently helped to kill it as a popular style.
Read news coverage based on evidence, not alarm.
However, all is not lost. While the genre might seem destined for academic obscurity, jazz continues to kick around in popular music – just in subtler ways.
Jazz captivates the country
In the 1920s, during the early years of the Great Migration, waves of black Americans migrated from the South into the industrial cities of the North. Black jazz musicians, particularly those from New Orleans, brought their sound with them. They moved to neighborhoods such as The Stroll in Chicago, Black Bottom in Detroit, 12th Street and Vine in Kansas City and, of course, Harlem. This occurred just as the record industry blossomed and radios became mainstays in American homes.
Jazz was well-positioned to become the most popular genre of music in the nation.
Over the next decade, the genre underwent a transformation. Artists began to amass larger ensembles, fusing the energy of jazz with the volume of dance bands. The Swing Era was born, and jazz orchestras dominated pop charts.
During the Swing Era, the Lindy Hop was a popular dance. UCLA
These developments led to a new set of issues. Larger bands meant less freedom to improvise, the cornerstone of jazz. During the 1940s, music recordings became increasingly important, and jazz musicians found themselves frustrated with how little they were being paid, resulting in a series of strikes by the American Federation of Musicians.
By the time these problems were resolved, America’s youth had already begun gravitating toward new styles of R&B and country, which would eventually morph into rock ‘n’ roll:
After that, jazz never really recovered.
From the club to the classroom
Jazz underwent another, more subtle, shift during that same time period: It left the club and went to college.
After World War II, jazz genres fractured and the music became more complex. It also became popular among college students. Dave Brubeck Quartet released several albums in the early 1950s that acknowledged the group’s popularity with the college crowd, including “Jazz at Oberlin” and “Jazz at the College of the Pacific.”
Perhaps university administrators wanted to elevate a distinctly American genre to a status of “high art.” Or, maybe they just wanted to capitalize on jazz’s popularity among college students. Either way, universities started to create curriculums geared towards the genre, and by the end of the 1950s, several institutions, such as the University of North Texas and the Berklee College of Music, had jazz programs up and running.
In the classroom, jazz was explored in a new way. Rather than hearing jazz played while grinding on a dance floor, it became something to dissect. In one of the earliest jazz histories, “The Story of Jazz,” musicologist Marshall Stearns captures this shift. He begins his book by explaining how difficult it is to categorize the spirit of jazz. He then spends over 300 pages trying to do just that.
Popular culture began to reflect jazz’s shifting identity as the music of educated people. The 1953 film “The Wild One” features a bouncing big band soundtrack that underscores the shenanigans of a motorcycle gang led by Marlon Brando.
Just two years later, “Blackboard Jungle,” also features delinquent kids – except this time, they prefer the sound of Bill Haley. In one scene, their math teacher tries to get the kids to appreciate his collection of jazz records. The scene ends with the kids beating the teacher and breaking his records.
‘Music is based on mathematics, and – it’s just, the next class is a little more advanced.’
Jazz had gone from the music of youthful rebellion to that of the cultured elite.
During the 1960s, jazz may have been as eclectic as ever. But academics like historian Neil Leonard continued to push for jazz to be made into a serious subject of academic inquiry, as he argued in his book “Jazz and the White Americans.” Professional groups devoted to the study of jazz education were founded, such as the National Association for Jazz Education.
During the 1970s and 1980s, introductory jazz courses started to reach critical mass and led to the growth of what jazz critic Nate Chinen dubbed the “jazz-education industry.” Playing jazz required a college degree. Jazz had become the music of the educated. It was the music of Cliff and Clair Huxtable, one a doctor and the other a lawyer, from “The Cosby Show.”
Just don’t call it ‘jazz’
In the last 20 years, jazz’s identity as an academic art form has only grown. At my institution, almost all of the non-classical course offerings in the music school are about jazz.
Today, in any given semester on any given campus, you can find college students sitting in classrooms at 9 a.m. on a Tuesday trying to absorb the importance and complexity of a music meant to be heard in a club at 2 a.m. on a Saturday. It’s become brussels sprouts for budding music aficionados: You know it’s good for you, but it doesn’t necessarily taste all that great.
Outside of the classroom, a dwindling audience base has forced traditional jazz venues to play into the notion of jazz as an educated person’s music. The current iteration of Minton’s Playhouse, a club that was once a bastion of jazz energy, now calls jazz “America’s classical music” in an attempt to raise the profile of the genre (and perhaps justify the cost of the steaks being served there).
Other venues have minimized jazz. This year’s New Orleans Jazz and Heritage Festival will feature decidedly non-jazz artists such as Katy Perry, The Rolling Stones and Chris Stapleton.
Despite jazz’s distance from its popular roots, a little digging shows that we still like listening to jazz more than we think. We just stopped openly calling it jazz.
Kendrick Lamar’s 2015 album “To Pimp a Butterfly” is every bit as much a jazz album as it is a rap album, thanks to Lamar’s collaboration with the saxophonist Kamasi Washington. Washington also had a short film, “As Told to G/D Thyself,” based on his album, “Heaven and Earth,” at Sundance.
Lamar’s album was such a revelation that it inspired David Bowie to feature a jazz ensemble as his backing band for his final rock album, “Blackstar.”
Meanwhile, the music collective Snarky Puppy has become an international sensation by creating long-form jazz works while avoiding any specific labels. Another music collective, Scott Bradlee’s Postmodern Jukebox, has found a way to keep the sound of jazz alive – and to embrace jazz’s lighter side – by transforming contemporary pop songs into historical jazz genres.
With academia positioning jazz as art music, the genre is unlikely to experience a popular resurgence any time soon.
But today’s artists are proving that the spirit of jazz is alive and well, and that jazz is much more than its name.
Maybe this is fitting: The earliest jazz musicians didn’t call their music “jazz” either. Instead, they blended their sound with pre-existing pop genres, and, in doing so, created one of the most distinct forms of music in American history.
之前在查幾個詞
間簡單單但含義隨著時間才會多理解-,
發現加拿大政治受英國影響不少-
連帶這回的防疫反應。。
。。