New Orleans Jazz in the World

2018 ◽  
Vol 103 (4) ◽  
pp. 664-674
Author(s):  
Clyde C. Robertson
Keyword(s):  
New Orleans ◽  
The World ◽  
New Orleans Jazz

scholarly journals Pop‑jazz works by Viktor Vlasov: genre and style innovations

2020 ◽  
Vol 56 (56) ◽  
pp. 29-43
Author(s):  
Yu.S. Diachenko
Keyword(s):  
New Orleans ◽  
Great Influence ◽  
Compositional Style ◽  
Noise Effects ◽  
Wide Range ◽  
Jazz Music ◽  
The World ◽  
Jazz Style ◽  
Characteristic Features ◽  
New Orleans Jazz

Background. From the second half of the XX century to the present time in the musical culture of the world we observe significant influence of jazz. New trends, styles, genres is appeared due to the interaction of jazz and academic music. Thus, at the beginning of the XX century such phenomenon of musical art rises as a synthesis of features of jazz and pop music. This process leads to the renewal of musical language, experimentation, the emergence of new styles and trends. All mentioned above are largely inherent in variety-jazz accordion art, which has a significant spread from the early XX century. The formation of the European accordion variety-jazz direction is connected, for the most part, with the genre orientation of the works of a certain region. In France it was a musette. In Germany there were virtuoso fantasies, variations on the themes of popular song and dance melodies, waltzes. In Italy – tarantella, samba, tango. “In the first decades of the XX century accordion began to be widely used in the USA. From beginning of popularization, it was emigrants from Italy”, notes M. Imkhanitskiy (2004: 304–305). In Ukraine, the stage of the emergence of variety-jazz style is associated with the assimilation of the European and American traditions of variety and jazz accordion art. The purpose of the article is to determine the main genre and style levels of the embodiment of variety-jazz style in the works of V. Vlasov. Presenting main material. The integration process of Ukrainian accordion art is significantly separated from the world performing movement. The variety of stylistic vectors (variety, jazz, pop-jazz) and the high level of professionalism of the performers significantly affect the current trends of variety-jazz direction. Victor Vlasov is one of the personalities who has a great influence on the modern process of development of variety-jazz direction in its national specifics. The introduction of professional technical-expressive and artistic components in his compositions is due to the author’s impeccable knowledge of the possibilities of accordion. The embodiment of jazz stylystics is achieved in V. Vlasov’s works by specific means: clear and pulsating metrorhythm, special melody and harmony, jazz phrasing, swinging, uniqueness of articulation. First, V. Vlasov uses rhythmic-factural models, typical of certain genres that were not previously involved in accordion practice. Secondly, he uses quasi-improvisations – the improvisational sections on a harmonious basis taked from main thematic material; third, imitations of the sound of an ensemble in different “timbre layers”, sonor effects in the form of various blows on parts of the instrument, on the floor, etc., mimicing the sound of percussion instruments. Fourth, V. Vlasov often uses swinging. Analyzing the compositional style of V. Vlasov, we find its characteristic features: at the level of the genre subsystem, the composer uses traditional genres of variety music; the level of the evolutionary subsystem is characterized by stylistic diversity (academic, avant-garde, electronic, variety-jazz trends); ethnic metasystem in the artist’s work is represented by the folklore basis of the works, the involvement of traditional genres of certain regions (“Vesnyanka”, “Kolyadka”, “Tarantella”, “Tango”, “Bossa Nova”); historical metasystem is manifested in the use of historically formed jazz styles (New Orleans’ jazz, bebop, swing, cool, etc.). The article considers the embodiment of variety-jazz style on the example of one of the parts of the V. Vlasov’s cycle “Variety-jazz compositions”, the piece “Basso ostinato”. The relevance of the study of this work is connected with its considerable popularity among performers of different countries, the active use of the work by participants in various competitions of accordionists. Using a simple compositional element filled with altered chords, the author creates a clear harmonious and formative grid as a jazz square. Synthesizing the academic form of musical art (Basso ostinato) with variety-jazz style, V. Vlasov created a pattern of his own compositional style. V. Vlasov’s works, in general, have a clear form, mostly there are complex three-part or variational compositions, but his variety-jazz style has its own specifics: ● use of altered chord; ● involvement of noise effects, specific accordion strokes and techniques; ● quasi-improvisations based on the principles of jazz music. Conclusions. V. Vlasov’s works have their influence on the development of variety-jazz music today. He remains one of the first composers to integrate and develop at a high professional level variety-jazz direction in the domestic accordion art. The composer represents new (to accordion-art) jazz performing techniques, novelty of musical ideas and their textural and intonational embodiment. Manifestation of variety-jazz style of V. Vlasov is a set of personal means of expression. Thus, the artist’s works are characterized by the use of altered chords, the involvement of noise effects (“percussion”), specific accordion strokes and techniques; introduction of quasi-improvisations based on the principles of jazz music. V. Vlasov’s individual and stylistic searches determine the characteristic features of the author’s school as a stylistic phenomenon in the development of domestic and European accordion art. Stylistic orientation of V. Vlasov’s compositions – New Orleans jazz, swing, bee-bop, cool, progressive – presents a wide range of genres and styles.

The Steel Heard ‘Round the World: Exposing the Global Reach of Indigenous Musical Journeys with the Hawaiian Steel Guitar

Itinerario ◽  
2017 ◽  
Vol 41 (2) ◽  
pp. 253-274
Author(s):  
John W. Troutman
Keyword(s):  
New Orleans ◽  
International Markets ◽  
Native Hawaiians ◽  
Late Nineteenth Century ◽  
Commercial Music ◽  
Kanaka Maoli ◽  
Music Making ◽  
The World ◽  
Late Nineteenth ◽  
A New Technique

In the late nineteenth century, Kānaka Maoli (Native Hawaiians) physically modified guitars and created a new technique for playing them. In the years that followed, hundreds of Hawaiian troupes, engaging new entertainment circuits that crisscrossed the globe, introduced the world to their “Hawaiian steel guitar,” from Shanghai to London, Kolkata to New Orleans. While performing Hawaiianmele, or songs, with their instrument, they demonstrated new virtues for the guitar’s potential in vernacular and commercial music making in these international markets. Based upon archival research, this essay considers the careers of several Hawaiian guitarists who travelled the world in the early twentieth century, connecting local soundscapes through the proliferation of an indigenous technology.

The City with Imaginary Walls

2019 ◽  
pp. 94-142
Author(s):  
Cécile Vidal
Keyword(s):  
New Orleans ◽  
Crucial Role ◽  
Racial Formation ◽  
Urban Center ◽  
European Descent ◽  
The World ◽  
Civic Community ◽  
The City

This chapter shows that racial formation was also shaped by the relationships French New Orleans maintained with its hinterland. Racial tensions were instrumental in developing a sense of collective belonging among urban dwellers of European descent that was defined in confrontation with the world beyond the city’s imaginary walls. The Natchez Wars in 1729–1731 and slave unrest afterward played a crucial role in the construction of the Louisiana capital as a white civic community. In contrast, for the slaves living on the plantations nearby, the urban center increasingly symbolized both a place of greater autonomy and a place of repression.

Australian/Cairns Group Perspective: Southern Agriculture and the World Economy: The Multilateral Trade Negotiations

1988 ◽  
Vol 20 (1) ◽  
pp. 69-71
Author(s):  
David Shires
Keyword(s):  
New Orleans ◽  
World Economy ◽  
Trade Negotiations ◽  
Multilateral Trade ◽  
War Of Independence ◽  
Penal Colonies ◽  
The World ◽  
History Of

Last week was Australia's 200th birthday. When the rebels in America won what they called their war of independence, Britain lost her penal colonies in the Carolinas and looked around for replacements. The first colonial fleet arrived in Australia on January 26,1788, and included, along with 700 convicts, 44 sheep and 6 cattle. If Britain had defeated her American colonists, then the history of both Australia and Louisiana would likely have been very different. The French flag might be flying today over both Sydney and New Orleans.

New Orleans jazz: A dialectical view

1983 ◽  
Vol 3 (3-4) ◽  
pp. 339-352
Author(s):  
Louis Levy
Keyword(s):  
New Orleans ◽  
New Orleans Jazz

Producing the Folk at the New Orleans Jazz and Heritage Festival

2008 ◽  
Vol 121 (482) ◽  
pp. 400-440 ◽  
Author(s):  
Helen A. Regis ◽  
Shana Walton
Keyword(s):  
New Orleans ◽  
New Orleans Jazz

A Tale of Two Brothers: Haiti’s Other Revolutions

2012 ◽  
Vol 69 (1) ◽  
pp. 37-60
Author(s):  
Vanessa Mongey
Keyword(s):  
New Orleans ◽  
Napoleonic Wars ◽  
Political Career ◽  
The World ◽  
Western Caribbean ◽  
Duty To Protect ◽  
Set Up ◽  
The Universe

Sévère Courtois's modest ambition was to revolutionize the world. “It is man's holy cause and duty to protect and aid the defense and to establish Independence in all the Universe,” he instructed his brother Joseph in October 1821. At the time, the Courtois brothers were a mere hundred miles apart; Sévère had set up an independent government on Providencia Island, in the western Caribbean, and Joseph was embarking on a political career of his own in Port-au-Prince, Haiti. Though the two brothers were born in the French colony of St. Domingue, the tumults of the Age of Revolutions had swept them away from their native island. At the time Sévère penned the letter urging his brother to support his universal liberation enterprise, Joseph had just come back from fighting in the Napoleonic wars in Europe. Sévère had participated in multiple revolutionary coups and moved from New Orleans to Cartagena, and from there to Texas and then Florida.

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