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VIII. JAZZ
JAZZ STYLES: 1900-1950
Objectives
This section describes jazz as music rooted in improvisation and characterized by syncopated
rhythms, a steady beat, distinctive tone colors, and techniques of performance. The West African,
European, black, and white American roots of jazz are discussed, references made to its many
substyles, and its role in society reviewed. The elements of tone color, improvisation, rhythm,
melody, and harmony are then examined in their relationship to jazz.
Suggestions
1. Discuss the roots of jazz with students, examining the various influences, such as the
European styles already studied, African music, and American music. Some misconceptions
concerning jazz can also be cleared up at this time.
2. The next five sections discuss the most important jazz styles up to 1950. Choose
representative examples of each and help the students discover those features that identify the work as
jazz, and those that separate each sub-style from the others. You might consider presenting the works
in chronological order, or in random fashion, depending on the level of the students. Besides The
Smithsonian Collection of Classic Jazz mentioned in the text, there are the Folkways Jazz Series
(Folkways Records), History of Classic Jazz (Riverside Records), and The Jazz Story and Capitol
Jazz Classics (Capitol Records) sets that could be consulted for examples.
Questions and Topics
1. Describe the roots of jazz.
2. Discuss the traditional functions of jazz.
3. Describe the elements of jazz that make it unique.
4. Minstrel music as a predecessor of jazz.
5. The Great Awakening and the evangelical hymn.
6. The Spiritual, black and white.
RAGTIME
Objectives
This brief section covers the basic form and characteristics of ragtime. The biographical details and
some of the works of the “king of ragtime,” Scott Joplin, are discussed with his Maple Leaf Rag as a
representative example of the genre.
Suggestions
1. Considered gone and forgotten, ragtime was revived, and books on the subject, including a
definitive biography of Joplin, have recently been published. Some credit this revived interest to the
use of Joplin’s The Entertainer as the theme music for the movie The Sting. How much of this revival
has reached the general public? Has ragtime again fallen into oblivion? Ask students to name other
ragtime composers and compositions.
Questions and Topics
1. Describe the usual form of a ragtime composition.
2. Discuss the working conditions of ragtime pianists.
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3. Joplin’s “Red Back Book,” Alexander’s Ragtime Band, and instrumental ragtime.
4. Women ragtime composers and their works.
5. Other ragtime composers.
6. The role of the piano in the black and white cultures of late nineteenth-century America.
BLUES
Objectives
Treated as one of the most important sources of jazz, this section discusses the history of vocal and
instrumental blues. Coming from the songs, spirituals, and field hollers of African American folk
music, and popularized in the early 1910s through the songs of W. C. Handy, the blues became a
national craze by the 1920s. The subject matter and organization of the lyrics are discussed, and the
12-bar blues chord progression is described. Bessie Smith’s Lost Your Head Blues is presented as a
well-known example of vocal blues.
Suggestions
1. It may be helpful to show the difference that blues and jazz effects give to a piece of music.
Play the recording of Bessie Smith’s Lost Your Head Blues. The vocal line is given with chords to
illustrate the typical 12-bar progression. Then, on a piano or guitar, play the basic chord progression
once through in simple block chords. Impress on the students that the progression is simple enough
for beginners with limited skills, yet allows an infinite number of variations in the hands of skilled
performers. Then ask the students to sing the melody with “classic” style, without blue notes or
inflections. They should quickly see the point of your discussion. You may have some talented
students who would be willing to prepare such a demonstration in advance, heightening the
enjoyment of the class.
2. Challenge students to try their hands at writing a few stanzas of blues lyrics, or rhymed
couplets in iambic pentameter. You might even set a few student samples to the blues progression,
and see if they can compare with the texts known to have been improvised by the famous performers.
Questions and Topics
1. Discuss the subject matter and form of the lyrics used in the blues.
2. Describe the twelve-bar blues progression.
3. Define and discuss the “blue” notes used in the blues.
4. Country, urban, and classic blues.
5. True-blue and untrue blues.
6. Blues “royalty”: Ma Rainey, Bessie Smith, and Dinah Washington.
7. Male blues singers.
NEW ORLEANS STYLE
Objectives
This section describes the cosmopolitan character of New Orleans and discusses its musical life
before World War I. The roles of the instruments used, the manner of performance, and the
organization of New Orleans or Dixieland style jazz are examined. The career of Louis Armstrong is
discussed, and Listening Outlines for Dippermouth Blues and Hotter Than That are provided.
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Suggestions
1. Some attention should be given to New Orleans as the cradle of jazz, along with some of
its major figures. The Folkways and Columbia sets mentioned previously each have records devoted
to the New Orleans style, and the accompanying commentaries will prove valuable.
2. King Oliver’s Dippermouth Blues is provided. The students should be able to follow
without too much difficulty, but you may have to help with the first few choruses until they get used
to the 12-bar pattern.
3. Hotter Than That, a 32-bar chorus example of New Orleans style, can be compared to
Dippermouth’s 12-bar blues. Considering that only four years separate the two, how are they similar,
and how different? Some of Armstrong’s biographical details should be discussed.
4. The text refers to Armstrong’s “scat singing.” In the “nothing is new under the sun” adage,
how is this similar to, and different from, similar vocal techniques known in Europe since medieval
times as “diddling” (British Isles), “Schnada” (Bavaria), “luoti” (Finland), “yodeling” (Alpine regions
and African Pygmies) or others? Are there similar African or Asian styles?
5. Ask students to research some of the changes that took place in jazz as it moved from New
Orleans in 1917 to Chicago, Kansas City, and New York. This could be done in preparation for class,
or as part of the classroom discussion. Have them point out the changes to performance style,
instrumentation, and musical elements.
Questions and Topics
1. Describe the cultural activities of the black and white communities in New Orleans around
the turn of the last century.
2. Describe the makeup and functions of the instruments in the New Orleans jazz band.
3. Describe the cultural milieu in which the first jazz musicians functioned.
4. Storyville, 1900.
5. Buddy, Bunk, the King, the Kid, and Jelly Roll.
6. The career of Louis Armstrong.
SWING
Objectives
The “swing era,” which flourished from 1935 to 1945, is covered through its many big name
performers. The organization and performance practices of the swing band are described. Duke
Ellington is discussed as one of the leading figures in the history of jazz, and his C-Jam Blues
presented as an example of his style.
Suggestions
1. After reviewing New Orleans and Chicago style Dixieland, some attention should be given
to the shift in emphasis from collective improvisation by performers to the evolution of set
arrangements by specialists, composed before the performance (not forgetting opportunities for solo
improvisation). The organization of the swing band and the method of performance should be covered
and then illustrated.
2. Texts not so long ago considered Stravinsky and Schoenberg as the two major figures of
the twentieth century. Then, gradually, it was suggested that the heights be shared by a third, Bartók.
Now there are writers who strongly advocate that Duke Ellington be a fourth member of that
illustrious group. In light of this, sufficient time should be spent in class to discuss his
accomplishments and compositions.
3. The text briefly mentions Benny Goodman’s historic jazz concert at Carnegie Hall in 1938.
Perhaps some time could be devoted to the significance of this concert. Significant also is the
contribution of Fletcher Henderson, who made arrangements for the Goodman Band. Perhaps some
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time could be spent on Henderson’s role in the development of swing, and other examples of his work
presented. That discussion should not diminish the time spent on Benny Goodman: his article “Back
to Bach,” his commissioning works for the clarinet from Copland, Bartók, Hindemith and other
contemporary composers, his role in the period under discussion aptly shown by the title “King of
Swing” bestowed on him, and his great work in breaking down racial barriers through his integrated
trio, then quartet, at a time when such things were just not done.
4. If time permits, some of the other major figures in the swing era could be discussed. You
might, for example, tie in Stravinsky’s Ebony Concerto with Woody Herman’s band, for whom it was
written.
Questions and Topics
1. Describe the makeup of the typical swing band.
2. Describe the role of the musical arranger in the swing era.
3. Discuss Duke Ellington’s contributions to the history of jazz.
4. Swing and New Orleans jazz: a comparison.
5. The style of Lester Young.
6. The many sides of Benny Goodman.
7. The career of Edward Kennedy “Duke” Ellington.
8. Duke Ellington’s Sacred Services.
BEBOP
Objectives
The complex style and abstract nature of bebop is contrasted with earlier forms. Bebop style is
examined, and the career and playing style of Charlie Parker discussed. The section ends with a
discussion of Koko, presented to illustrate both bebop style and Parker’s improvisatory genius.
Suggestions
1. While Gillespie and Monk are mentioned, the section deals mainly with Charlie Parker as a
major figure in bop style. Comparisons should be made to swing and New Orleans style
instrumentation and performance practices, and then Parker’s Koko discussed. Help the students
recognize the two 64-bar choruses. They may need several hearings to be able to recognize the
changes, but the work is short, and bears repetition.
2. There are many recordings by Charlie Parker, and hopefully time will permit the
presentation of other examples of his style and improvisational skill. There are also many recordings
by Gillespie, Monk, and Max Roach.
3. Ask students to research other famous bebop performers and their compositions. Some
guidance should be given to the students as to where they can find such information. To help answer
the question “Which, if any, do you feel should be on a par with the five mentioned?” consider the
contributions of Max Roach, John Lewis, Oscar Pettiford, Milt Jackson, Bud Powell, Kenny Clarke,
and others.
Questions and Topics
1. Contrast and compare bebop with swing or New Orleans style jazz.
2. Describe the playing style of Charlie Parker.
3. The career and contribution of Dizzy Gillespie.
4. The piano style of Thelonious Monk.
5. Other important bebop performers.
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JAZZ STYLES SINCE 1950
Objectives
A brief overview of the jazz scene since 1950 is given in this section, with three styles of the many
discussed in detail: cool jazz, personified by Lester Young, Stan Getz, Lennie Tristano, and Miles
Davis; free jazz with Ornette Coleman and John Coltrane; and jazz rock, or fusion, as exemplified by
Miles Davis.
Suggestions
1. Have students compare the three major developments in jazz since 1950. This could be
done in preparation for classroom discussion, or together in class.
2. Lester Young, Stan Getz, Lennie Tristano, and Miles Davis are mentioned as important
figures in cool jazz, and there are many recordings available. As an introduction to cool jazz, the
work mentioned in the text should be readily available and worthy of many points for discussion.
Boplicity’s instrumentation can be mentioned, as well as the style and techniques of the performers.
Before leaving cool jazz, it is hoped some of the performers using instruments unusual to jazz be
discussed. Herbie Mann, Yusef Lateef, Roland Kirk, and Clark Terry are only a few of the many
possible choices, all worthy of investigation.
3. Ornette Coleman and John Coltrane are mentioned as major proponents of free jazz. There
are many recordings by Coleman and Coltrane available. You might be tempted to discuss the text’s
statement that free jazz is similar to the chance music of John Cage and his followers, and compare
techniques and works. You might also wish to compare free jazz with Schoenberg’s atonal period.
How did free jazz influence other performers in the field? How, for example, would you classify
Miles Davis’s Bitches Brew, considering he was just discussed as a leading proponent of cool jazz?
4. While others are mentioned, the section on jazz rock, or fusion, concentrates on the work
of Miles Davis. His Miles Runs the Voodoo Down is discussed as one of the early milestones, and an
excerpt is included in the recordings. Note the question regarding Bitches Brew (the album that
contains Miles Runs the Voodoo Down) in the previous suggestion. Since rock will be discussed, the
section on fusion can be used as a logical bridge. Comparison might be made of typical
instrumentations, performance techniques, and timbral combinations, among others, of jazz and rock
groups, leading to a discovery of the elements that each contributed to the jazz rock style.
5. Third stream is just briefly mentioned in the text, but you may wish to include a passing
discussion. Dave Brubeck’s Unsquare Dance was discussed in Part I of the text. Other examples you
might consider are the recordings by the Swingle Singers and the Jacques Louissier Trio, although
some will feel these are jazz interpretations of “classical” works rather than true third stream
compositions.
6. Have students research some jazz (not rock) groups that are active today. Who are the
notable jazz musicians performing today? Is there a style that predominates the current jazz scene? It
has been estimated that audiences for jazz are even smaller than those for chamber music. Help the
students find performances in their area, and see if there are groups still active, or if serious jazz has
been completely replaced by rock.
Questions and Topics
1. Describe the instrumentation and style of cool jazz.
2. Discuss some unusual instruments used in cool jazz.
3. Discuss the characteristics of free jazz.
4. Keeping “cool” on the east and west coasts: different, or the same?
5. Back to Bach: the Modern Jazz Quartet, Swingle Singers, et al.
6. The third stream and its proponents.
7. The forerunners of fusion.
