User:Sketchee/Precursors of Jazz

In the first decade of the twentieth century, Schoenberg, Stravinsky and other composers departed from traditional music with new melodies, rhythms, texture, forms and instrumentation. Igor Stravinsky wrong ballets for Sergei Diaghilev and his Ballet Russe. Le Sacredu printemps (The Rite of Spring) opened in 1913. In America, the European musical tradition of the nineteenth century continued to influence composers both white and black. French composer Claude Debussy, however, did have some influence in America with such works as Prelude a “L’Apres-midi d’un faune”

Some black musicians developed their own style for their own communities and expression. An instrument largely unavailable during slavery, the piano, had become the staple instrument of rag time. The style grew from earlier dance practices reminiscent to the syncopated rhythms and melodies utilized on the fiddle and banjo. White America became aware of the style and furthered its popularity. Ragtime had a straightforward bass and a syncopated melody. Some black pianists learned European classics so that they could create their own versions. Considered the peak of the movement, Scott Joplin took European classical and African-American ragtime elements to form a multi-sectioned piece. The syncopation was the most important of the ragtime elements. His Maple Leaf Rag was a commercial and artistic success. James Sylvester Scott is considered second to Joplin. He was initially influenced by Joplin. The rag players of New Orleans and St. Louis were among the best pianists of the genre.

The originals of the blues are in many ways unknown. W.C. Handy was the first man to popularize the blues. Gertrude “Ma” Rainey was the earliest blues singer to have a professional career in blues music. The music has a strong connection to spirituals sometimes to the point where it is tough to distinguish the two types of music from each other. The style has very few concrete elements. It often reflects the personal experience of its performer. The somber music of the slaves and spirituals are from which much of the blues seems to be derived from. Archaeologists found tales of black laborers that were strongly similar to the blues topically. The blues uses duple rhythms and marked syncopated patters indicative of folk music with a poetic structure. The scale used in the blues is an altered minor scale with various intervals used ambigiously.

In 1912, William Christopher Handy’s Memphis blues was his first blues composition published. It was very well received on its first performance. Prior to it’s printing, there were two pieces published, one by Artie Matthews and a second by Hart A. Wand. Black brass bands and dance orchestras had been very popular at this time. Black string bands were available in even the sparsest parts of the nation. A good band would be in demand by both whites and blacks. Amusement parks were available specifically for blacks with dances and brass bands. Brass bands were comprised of twelve to fourteen instrumentalists. They played light classics, marches and popular songs.

New Orleans had many dance orchestras and brass bands of this type as well as small string bands. The patriarch of jazz, as he is often considered, Charles “Buddy” Bolden led a very popular band competing often with the society dance band of John Robichaux. Bolden was a very powerful cornetist. Segregation code in New Orleans forced many into a district called Storyville where even many of the best musicians of “colored creole” and black decent performed. The wages and work were very desirable.

Meanwhile, New York was the fashionable center of African-American life. The musicians contributed considerably to jazz. James Reese Europe was leading figure in black music culture. He was educated in music in Washington, D.C. public schools with private studies in piano and violin. His association with Ernest Hogan first brought him to public attention. The African-American musicians benefited from the national dance craze that was very apparent in New York. It was about this time that Harlem began to develop as a culturally important location as black New Yorkers began settling there. The “Ladies Orchestra” was established and female leaders of syncopated orchestras emerged such as Marie Lucus. Chicago’s center of musical activity was the Pekin Theatre. The director of the music there was Joe Jordan. The Grand Theater was lead by Shelton Brooks and Dave Peyton. Like New York, Chicago received immigrants from the south including musicians. In Detroit, established orchestras continued.

During World War I, most black units had kept their own bands lead by black bandmasters. Some received honors and distinction. In France, one African-American band was considered the best military band in the world. This band was lead by Jim Europe and the musical style of this band would later be known as jazz. The music was strictly as written but there were mutes, other embouchure changes, overblowing and other effects to create different effects. War songs, many which were impromptu, developed. Without white entertainers available, black army unites provided for impressive entertainment. They played operatic music as well as the blues, although the blues was less respected among their repertoire. Syncopated versions of earlier classical works were often performed.

Between the Civil War and World War I black music evolved and influenced American and world music. The music was not only evolutionary but revolutionary. The utilization of African-American musicians and composers to take spirituals, classical works and original melodies and rhythm to invent startling, sensational and very popular music for the sake of dance has influenced much of the music during the period and since.

References

The Music of Black Americans: A History. Eileen Southern. W. W. Norton & Company; 3rd edition. ISBN 0393971414