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Jazz Heritages Jazz did not develop from any one musical culture

Jazz Heritages Jazz did not develop from any one musical culture Emphasis on rhythm came from Africa Religion was important in African cultures African religions were oriented towards rituals Rituals involved dancing Call and response Traced to African tribal traditions

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Jazz Heritages Jazz did not develop from any one musical culture

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  1. Jazz Heritages • Jazz did not develop from any one musical culture • Emphasis on rhythm came from Africa • Religion was important in African cultures • African religions were oriented towards rituals • Rituals involved dancing • Call and response • Traced to African tribal traditions • Leader shouted cry and group responded • Everyone participated • Trading fours - instrumentalists improvise over alternating groups of four bars or measures • *youtube examples=Call and Response / Trading Fours

  2. European influences • Diatonic and chromatic scales • Harmony in strictly from European school • Forms are very symmetrical (balanced proportions), Africans were not concerned with symmetry of form • Jazz was a blend of cultures

  3. African Americans • Latin slaves were allowed to play drums sing and dance when they were not working • Protestants wanted to convert slaves and considered this “pagan” (exposed them to western church music) Congo Square - • New Orleans • Slaves were allowed to dance, sing and play once a week • Began around 1817 • Cross between French, Spanish, and African rhythms

  4. Creoles • Mix between African and French or Spanish ancestry • Segregation movement caused Creoles to join the ranks of African Americans • Before this the Creoles had the same rights and privileges of whites • 1894 - Code 111 (read page 25) • This cause the conservatory trained Creoles to play music with the African Americans • African Americans contributed spontaneous oral traditions and rhythms • Creoles contributed harmony and form

  5. Field hollers • Slaves weren’t allowed to talk while working • Singing was permitted • Slaves established communication with field hollers • Whites couldn’t understand

  6. Work songs • Sung without accompaniment • Associated with monotonous physical tasks • Include grunts and groans emphasis on rhythm and meter (Listening Journal) *Axe cutting song – Julie Ann Johnson by Huddie Ledbetter (our example does have simple guitar accompaniment)

  7. SPIRITUALS • Jazz expression can be traced to the early American Church • White Spiritual tradition mixes in the African American traditions • Hymns are sometimes improvised melodic versions of scripture • Call & Response (preacher to congregation) • Style is similar to Western Church (Monks, Gregorian Chant) • Rhythm & Melodic singing style is of African Tradition. • The mix results in a free time flow and new harmonies. • LISTENING JOURNAL • Dry Bone – Rev. J.M. Gates

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