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PHILHARMONICA. International Music Journal

The Third Stream and The Progressive: to the Issue of Stylistic Distinctions
Shak Fedor Mikhailovich

PhD in Art History

Associate Professor, Head of the Department of Sound Engineering, Krasnodar State Institute of Culture

350072, Russia, g. Krasnodar, ul. 40-Letiya pobedy, 33



Polishchuk Aelita Edisonovna

Senior University Teacher, Department of Pop-Jazz Singing, Krasnodar State Institute of Culture

350072, Russia, g. Krasnodar, ul. 40-Letiya pobedy, 33





The article deals with musical opuses created in the conditions of synthesis of jazz and academic idioms. The authors analyze the positions of domestic and foreign researchers connected with the definition of style attributes of two unorthodox directions of contemporary music art — the Third Stream and the Progressive.  A number of researchers uphold the positions, according to which the Third Stream is an independent artistic phenomenon. The development of its aesthetic features is associated with the emergence of a new type of composers whose professional skills are closely connected with both ideological bases of academic music and the artistic palette of jazz music. In numerous studies devoted to jazz culture, the style definitions of the Progressive and the Third Stream are in a state of mutual competition. Depending on the context used by the researcher, the phenomena can intersect, displace or replace each other. Ethnic elements were included in the integration process in the course of further development of the ideas of the Third Stream, by reference to artistic practice. The artistic peculiarities of the Third Stream and the Progressive were analysed by some researchers through the prism of more general musical issues, so that the boundaries of these phenomena are constantly shifting. In opposition to the dominant paradigm there are musicologists who strongly criticize the idea of mixing different levels of artistic layers, levelling the deep differences of the synthesized musical cultures. In the current situation, there is a need for an in-depth approach to the specific features of the Progressive and the Third Stream which should be understood as independent phenomena that can be successfully distinguished. 

Keywords: orchestral jazz, style synthesis, progressive, third stream, improvisation, jazz aesthetics, jazz music, jazz practice, bebop, Gunther Schuller



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