Abstract:

The article explores the very concept of «jazz», presenting it as an art form of transnational universalism, whose creative method reveals an active tendency toward unity within music, as well as the interpenetration and interdependence of its various genres.

The author demonstrates that jazz, at its core, is a distinctly American art form which swiftly transcended its local geographical boundaries, becoming a truly international phenomenon now represented by diverse national schools across the world. It is precisely within jazz, the author believes, that one finds the foundation for the creation of a new artistic synthesis – one that enriches and enhances the vitality of musical art as a whole and of each of its forms individually.

Among other aspects in the course of the work, the author also draws attention to certain discrepancies in terminology, phrasing, and the definition of chronological boundaries related to various phenomena belonging to different periods of jazz history, and etc.

The author’s focus encompasses various periods in the development of jazz; however, attention is drawn specifically to those deemed worthiest of consideration: Traditional jazz (from 1863–65 to 1929); Swing music (from 1925 to 1945); Modern jazz (from 1940 to 1950s); Free jazz (from the 1960s); Fusion jazz and creative music (from the 1970s of the XX th century).

A significant part of the author’s work is devoted to the emergence and development of jazz as a distinct form of musical art. The study summarizes issues related to the evolution of various stylistic modifications, movements, and directions in jazz, such as: archaic jazz, traditional jazz, swing, bebop, cool jazz, modal jazz, the third stream, and further – to the free improvisation of free jazz. Different approaches to the early forms of jazz development are also described in the article.

Keywords: jazz, traditional jazz, art, academic tradition, music.

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