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Specificity of the musical language of jazz and pop
Shulin Viacheslav Valerievich

PhD in Art History

Docent, the department of Musical Theatre, Saint Petersburg State Institute of Culture

191186, Russia, Leningradskaya oblast', g. Sankt–peterburg, ul. Dvortsovaya Naberezhnaya, 2


The subject of this research is the musical language of jazz and allied styles of pop music. The basic material of the article consists of the analysis of jazz elements that most extensively reflect the performance specificity: rhythm, harmony, texture, intonation and articulation features. However, any analytical examination of jazz will not be complete if viewed strictly within the framework of music system, not taking into account its position within the overall musical space. The specificity of jazz harmony is revealed through the peculiarities of compound the European harmonious system and modal principles of blues intonations. Methods applied in this work suggest the system, genre, and hermeneutic approaches that allow most adequately reflect the theme, because jazz is not subjected to full comprehension within the boundaries of categorical grid of academic science, which conclusions are mostly based on the score. The article determines the key specificities of the musical language of jazz and allied styles of pop music. The main peculiarity implies its rhythmic specificity that manifests in any jazz period through the interpretation of the eighths within beat or the eights with the dot and sixteenth, as well as correlation in using of these metrical figures between the instruments during performance. Alongside the rhythmic peculiarities, the author underlines the harmonious component, expressed in the phonic aspect – in overall dissonance of jazz sounding, and in technical, as resulting from the previous, in specificities of the texture, structure, and interaction of the sounds of chords.

Keywords: articulation, intonation, jazz texture, music art, jazz harmony, rhythm, pop music, jazz, swing, musical language



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