Though the roots of Jazz have a 300yr history, it certainly is not a comparable time span to the Western Concert Tradition - traced back to Judiac Chant. But this Yin and Yang of Formal vs Expressive is still present in the music. Once this Jazz music entered the Artistic sphere and left the realm of Popular Music it must, out of necessity, embrace the same strivings that the Western Classical Tradition must - to be relevant as a medium of expressing our current time and place. Its language - as it had from the very first identification as a genre called Jazz - must express the time and place it exists in. Popular Music must also - but it is the difference in function that is crucial. For such music, its reason for being is to provide entertainment. That is its function and all else is secondary. It changes over time to address that need - make the entertainment component responsive to time and place. Art music is a medium of communication and exchange between audience and artist. Its ‘function’ to communicate - and its success is judged by how well it accomplishes that communication. The search for a language to successfully communicate the time and place of the artist is constant - the interim periods are ‘stressfull’ and meet ‘resistance’. Above all it’s language must adapt to the current and the new - just as we must constantly adapt to a lifetime of change.
Jazz evolved to speak to a modern age - and like Tradition Concert Music sought a new language of musical elements to communicate this modern time and place between artrist and audience - because it is an art music. Its “function’ is to communicate.
Of all the changes occurring within Jazz, it seems the great enabling event of the music was its emergence as an Art form. Its movement out of the popular realm was a necessity for further development - to evolve it needed to be free of its dance music function. The limits imposed rhythmically by this function constricted all other musical elements - to evolve, the music had to be free of any restrictions imposed from outside the music itself. It needed to make the musical elements which, when manipulated, defined the music as jazz the primary focus. Any constraint by the need to define a dance beat as primary would have precluded any further growth as a musical genre. From the Bop era onward, this freedom allowed the music many avenues of growth and expansion.
A period of experimentation and innovation flowed from the developments of the 1950’s.
Accompanying this was a fundamental change in the approach toward Jazz. From its beginnings, the one consistent and unifying thread between the different styles of the genre was the practice of using preexisting material adapted for use [or original material written in a pre-existing style]. This freed the jazz performer and allowed him to concentrate on improvisation. This borrowed material included everything from spirituals to popular songs - the bulk coming from a vocal tradition.
The 1950’s saw the extension of the technical resources of the soloists and an increase in the complexity of the material accepted, modified, or composed for jazz. The language of Jazz had been greatly enriched by the advent of Bob and the West Coast school of the era. In the ‘60’s, the previous pattern of evolution and revolution regarding prior styles would continue but something new would happen - it would almost mirror the developments of the new trends of Western Concert Music.
This additional path would be concerned with the disintegration of the structural background of the music itself [much like their ‘Classical’ counterparts]. The jazz musician - in considering established practice no longer relevant to contemporary culture and society - would start a search for a new musical language relevant to contemporary life. Like the Contemporary Composers of the Western Concert Tradition, they experimented with the elements of music - attempting to redefine and reinvent them for the new and modern world they lived in.
No longer functioning as a Popular Music, but rather a true Art Music, they were free of any market considerations or audience demands. This enabled experimentation and innovation dependent only on artistic ‘vision’ - and as such, parallel much of what the New ‘Classical’ music did in manipulating the musical elements. The 20th Century Concert Tradition is a logical introduction to this next and multi dimensioned Jazz period. In investigating these changes, it is best to keep in mind the Yin and Yang of any art music - that swing between the Formal and the Emotional. This constant tension - both of degree,dominance, or rejection - determines the parameters of the musical search for a contemporary musical language.
• Melody: neither the formal beauty of the Classical nor the lyric beauty of the Romantic were emulated. The 20th Century composer had little use for standard patterns - in phrase or repetition of theme or motif. The melodic contour has been divorced from vocal tradition - it was not conceived in terms of what the voice can do, utilizing wide leaps, jagged turns of phrase, and an angular line. It becomes an abandonment of the familiar landmarks on which the listener relies to recognize a melody.
• Harmony: the vertical ‘height’ of the chord was extended upward, creating a demand to ‘hear’ this extension simultaneously - as a vertical construct rather that a successive linear one. A development of polyharmony as two streams of harmony played against each other - almost as single strands of melody in counterpoint. Different chord constructs other than the superimposed third - chords constructed in fourths, fifths, and seconds [clusters]. An interest in dissonance rather than resolution led to tone combinations of unprecedented complexity - a reflection of the heightened tension and drive of contemporary life.
• Tonality: Free use of all twelve tones of the scale - still a functional harmony but one which expands the boarders of tonal space - blurring the distinction of Major and Minor. An almost revision to earlier musical organizations such as the medieval church modes, use of non-western scales based on other intervals than the half step, and the use of artificial scale constructs.
• Rhythm: A revolt against standard meters which in turn spurred exploration of less symmetrical patterns in favor of the unexpected - a reflection of the hectic rhythms of modern society, city life, and the machine. A drawing from rhythmic conceptions outside of European music - ‘primitive’ rhythms of Stravinsky and Bartok, the syncopations of Jazz, free prose rhythms of Gregorian Chant, supple [no defining strong beat] rhythms of the medieval motet and the renaissance madrigal, development of national schools prized for their ‘off beat’ qualities. New rhythmical devices developed: Avoidance of the four measure phrase, non symmetrical meters of 5/4,7/4,9/4 - divided in various combinations, multiple meters in compositions with free movement between them, and the bar line lost its power as the arbiter of musical flow.
• Texture: Broke up the thick chordal textures of the previous period, a revival of counterpoint, linear melody, and transparent texture. The reconstruction of contrapuntal values is one of the prime achievements of the modern age - 20th Century composers use dissonant intervals to separate the lines and make them stand out against one another. It restored the balance between vertical and horizontal elements in the music.