Friday, April 6, 2012

The Introduction



Music is a forever evolving art form. New musical styles replace older ones and sometimes, old trends in music are reborn again.  These elements have experienced slight alterations as time has passed, but each different musical generation has figured out a way to make them into their own style somehow.
            In this Musical Investigation, we will examine the link between the musical style of the Jazz and the Baroque eras.

Contextualizing



"Although the term jazz became current in 1917, the music itself was probably heard as early as 1900. We do not know exactly when early jazz started or how it sounded, because the music existed only in performance, not musical notation." (Kamien 514)

Although Jazz and Baroque music were at the height of their popularity in completely different eras, the similarities are striking. Yes, of course the differences far outweigh the similarities, but there is still a good amount that one can link between these two very different genres.
            It’s difficult to set a definite year that signifies the beginning of the Jazz period, but many people appoint the year 1917 to be the start of the Jazz era. Early Jazz, originated from New Orleans in the early 20th Century. Developed from Blues and ragtime, Jazz's was primarily used to provide energy and entertainment in bars and clubs.
 After the 1920's, Jazz began to incorporate many baroque characteristics into its diverse and rhythmic compositions with the rise to popularity of Louis Armstrong. Despite such differences in contrasting instruments, addition of voice and contrasting level of formality; these two benchmark compositions highlight the many parallels in melody, harmonic language, accompaniment and form.      
            Yes, the Jazz era can be described by these features but Jazz as a whole is very nebulous. As described by Mr. Armstrong himself, "’If you have to ask what it is,’ Louis Armstrong supposedly said, ‘you'll never know.’" (Porter 1)
            Far before the Jazz period, the Baroque period, from the 1650’s to 1750, was very much alive and flourishing. The word Baroque itself describes the musical period’s extravagance and vibrance.

"The word baroque has at various times meant bizarre, flamboyant, and elaborately ornamented. [...] An oversimplified but useful characterization of baroque style is that it fills space - canvas, stone, or sound - with action and movement." (Kamien 123)

            Differences between the two styles are easily distinguished. Where Baroque had its basis firmly in strings, Jazz drew upon mainly brass and woodwind instruments. In fact, many of these Jazz instruments such as the saxophone, the clarinet and the trombone were not even developed until many years after the Baroque era. Also, the ornamental and formal nature of Baroque music is vastly different from the laid back and more simplistic style of Jazz. This contrast is partially due to the large difference in ensemble size: a Baroque orchestra being significantly larger than a Jazz band.

Improvisation in Baroque and Jazz



Improvisation in music can take many forms; however, it is generally based on the performer's creative power to make up series of elements on the spot with basic or no pre-written instruction. For example, a performer might be given the opportunity to improvise a rhythmic sequence, an accompanying harmony, a melodic line or even all three at once.
            Improvisation has always been a major component in many styles of music, and dates back to its beginnings. In early music, call and response forms were dominant. This allowed for a great deal of improvisation on the part of the soloist singer as well as the participating audience.
            In Jazz music, improvisation, or improv, is arguably the most important feature. Although there are many different styles of improvisation, usually matching with a sub-style of Jazz, there are some common elements to most pieces. For one, improvisation is usually not entirely random. While the majority of improvisation in Baroque music occurs in the harmony, improvisation in Jazz can be found in many elements. Melodic lines are often improvised by the lead musician. Rhythms can be improvised through syncopation and the harmony is usually improvised by the bass section of the band.
            In addition to new themes and conventions in drama and visual art, the Baroque period introduced many new ways to compose and perform music. Chords were the focus for many compositions, and figured bass was first used in this period. Figured bass was used to notate music with only chord progressions, so during performances the keyboardist in the accompaniment would improvise the full chord.

            "The new emphasis on chords and the bass part resulted in the most characteristic feature of baroque music, [...] With the left hand the organist or harpsichordist plays the bass part, which is also performed by the cellist or bassoonist. With the right hand the keyboard player improvises chords following the indications of numbers (figures) above the bass part. This bass part with numbers (figures) is called a figured bass." (Kamien 128)

            Figured bass was usually found in a form unique to the baroque period, the concerto grosso. The concerto grosso, or "large concerto", consisted of the musical focus being passed between the entire orchestra (known as the tutti, the Italian word for "all") and the soloist or small group of instruments. During this time, an element known as the basso continuo constantly plays a bass accompaniment.

Linking Improvisation Between These Two Styles



Although it might not be apparent, considering the wide stylistic differences between Jazz and Baroque music, there are some similarities in the technical elements of both styles of music. One similarity between the two is the use of a framework on which the improvising musician builds his or her music. By analyzing the scores that show examples of music from each period, we will be able to draw out similarities and differences.
Both styles use basic musical blueprints on which the lead musician places the improvisation. In Baroque music, the keyboardist (usually a harpsichordist) is given a chord progression, which is built upon to form the notes making up the basso continuo. An example of this notated chord progression can be seen in the cantata Poi che riseppe Orefo, by Alessandro Scarlatti (1660-1725). In this piece, note the second line (Bass Clef), in which the numbers given indicate the chord progression for the measure.

In Displacement Blues, a modern example of Jazz improvisation, we see the primary melody written above the bassline, which is made up of undefined chord structures (Specific chords are given, however the arrangement is left to the musician). This is very similar to the Baroque style of improvisation-- basslines and accompaniment is suggested by the composer, but the details are left up to the performer.

Linking Key Fundamentals of Jazz and Baroque Music



Typical of the Baroque music is the continuity of rhythm, melody and mood; mood is also a very prominent theme in Jazz music. In Baroque, basso continuo was used extensively to repeat harmonic phrases throughout the entire piece and served to accompany the different melodies of the other instruments. In Jazz, however, the melody was introduced at the beginning (the head) and repeated throughout the entire piece. An example of repeated melodies in Jazz is riff, which provides foundation to the piece. This is apparent in Chameleon by Herbie Hancock.

In Baroque, a similar form was the ritornello, a recurring passage for the orchestra or chorus; often the opening theme or first movement of a solo concerto, played tutti, which is later on repeated in the composition in between sections, with key modulations and either in whole or only part.
Another difference between the structure of Jazz and Baroque music is the size of the respectable ensembles that play each style of music. In Baroque, the orchestra is significantly larger than a Jazz ensemble. Despite the difference in the number of musicians, the arrangement of instruments within both periods has many commonalities. Both styles employ the use of two distinct musical groups, one which features and another which acts as harmonic and rhythmic accompaniment. In the case of the Baroque period, the two sections were the concertino, the small group of virtuosic soloists and the ripieno (the tutti orchestra). In Jazz, the soloist group was called the Front Line. This usually included the clarinet, trumpet and trombone. Jazz's ripieno equivalent was the aptly named Rhythm Section. This group included the drum kit, banjo, upright bass and piano. Both Baroque and Jazz styles frequently relied on a strict form for their compositions.

Piecing It All Together



Although the intentions of improvisation in the two genres of music were different: improvisation in Baroque times was primarily to permit musician virtuosity, improvisation in Jazz was primarily for the expression of a musician's mood or feelings, there are some elements that tie them together.
The two most improvisation-focused characteristics of Jazz and Baroque (Blues and the Basso Continuo, respectively), each use some form of incompletely-notated harmony to give the performer room for expression or to display musical talent while still staying true to the composer's original intent.
Despite their many and vast disparities, the Baroque and Jazz styles have cores that share technical similarities that can make them more closely related than one might think.

Bibliography


Websites:
"Classical Improvisation: The Lost Art." Middlebury College: Community Home Page. Web. 06 Apr. 2012. <http://community.middlebury.edu/~harris/MusicPapers/MusicAlive.html>.
"IMPROVISATION." On Baroque Improvisation. Web. 01 Apr. 2012. <http://community.middlebury.edu/~harris/MusicPapers/baroque.html>.
"Jazz Improvisation and Organizing - Once More from the Top." Web. 10 Mar. 2012. <http://web.cba.neu.edu/~mzack/articles/jazzorg/jazzorg.htm>.
"Syncrat Publishing." Baroque and Early Jazz Compared -. Web. 01 Apr. 2012. <http://www.syncrat.com/1k3>.
Web. 22 Mar. 2012. <https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNzGlpShlGKM9wjQvYtWlS61yGNGChW6KMqi87ihq-oSZ3hemykU4KX-MN6hpW25UD9Yk4crJVdmuj0g8-S_QBCfmEVxY9zwmYlEFM2tVQQ7C8A8lNQZDUhSzP2eohcUCc3rt8t5I2ilN7/s320/jazz-blues1.gif>.
Web. 25 Mar. 2012. <https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh496p1d4IhbdeqcOPmdMw7qUsiV76HeQnf9BoE-itr-FOY_G8Wfba7DFgu8kAqhEtyndb6BaVLaVvNaBkDGzcn-o_645e7sQb5fAnBwyNAt8dOr3ulZVIcU1QkvTuw_v-umgcFfKIMXpPX/s320/poi-che1.gif>.

Texts: 
Kamien, Michael. Music: An Appreciation Eighth Edition. New York: McGraw Hill, 2004
Porter, Lewis. et. al Jazz: From its Origins to the Present New Jersey: Pretence Hall, 1993
Simms, Bryan R. The Art of Music New York: HarperCollins College Publishers, 1993

Analyzed Works:

Alessandro Scarlatti, Cantata: "Poi che riseppe Orefo" Score © Gordon J. Callon.

Julian Martin, Displacement Blues November 2000