Jazz, wani nau'i na fasaha na Amurka, an daɗe ana yin shi ne saboda saurin furcinsa, rikitarwa mai sauƙi, da ruhun haɓaka. An samo asali a farkon karni na 20, jazz ya samo asali ne ta hanyar salo da ƙungiyoyi da yawa, kowannensu ya bar alama marar iyaka a duniyar kiɗa. Tasirinsa ya wuce jinsinsa, yana da zurfin tasiri ga ingantaccen zamani a cikin yanayin kiɗa daban-daban. Daga ƙwanƙwasawar New Orleans zuwa ɗakunan dijital na ƙarni na 21, haɓaka jazz ya kasance harshe mai rai na kirkirar kai tsaye, yana ba da waƙar mawaƙa da masu fasaha a kowane kusurwar duniya.

Tushen Jazz: Haɗin Al'adu

Tushen jazz ya koma ga tukunyar narkewar New Orleans a ƙarshen ƙarni na 19 da farkon ƙarni na 20. Al'ummomin Afirka na Amurka sun haɗu da abubuwa daga waƙoƙin Afirka, blues, ragtime, da al'adun kiɗa na Turai don ƙirƙirar sabon sauti mai ƙarfi. Wannan haɗuwa ya jaddada aiki tare, motsawa, da haɓaka ta gaba ɗaya, yana saita yanayin motsi na kiɗa mai juyin juya hali. Taron Congo Square, inda bayi da 'yanci na launin fata suka yi rawar jiki da rawa, sun ba da hanyar haɗi kai tsaye zuwa al'adun kiɗa na Afirka tushen da aka gina akan kira da amsa, polyrhythms, da kuma free expression.

Louis Armstrong da kuma Jelly Roll Morton sun nuna yiwuwar wannan nau'in ta hanyar haɗuwa da fasaha na fasaha tare da labarun ra'ayi. Armstrong's virtuosic trumpet solos da charismatic scat singing sun saki daga haɗuwa da haɗin kai, suna tabbatar da cewa mawaƙa ɗaya zai iya ɗaukar nauyin motsin rai na wasan kwaikwayon. Morton, mai kida da mawaki, ya tsara nau'ikan jazz na farko kuma ya gabatar da matakin ƙwarewar waƙa.

Babban Hijira da Yada Ƙarƙashin Jazz

Babban hijirar Afirka na Afirka na farkon karni na 20 daga karkara zuwa biranen arewa da yammaci ya taka muhimmiyar rawa wajen yada jazz a duk faɗin Amurka. Birane kamar Chicago, New York, Kansas City, da Los Angeles sun zama sabbin cibiyoyin kirkirar jazz. A Chicago, rikodin Armstrong tare da Hot Five da Hot Seven ya kafa mizanin haɓaka jazz. A Kansas City, wani raƙuman ruwa mai cike da blues ya haɓaka, wanda aka kwatanta da sashin sautin Count Basie da tuki, ƙaho mai nauyi wanda daga baya zai shafi haɓaka zamani a cikin dutse da rai. Hijira kuma ya sauƙaƙe musayar salon yanki, daga ƙasa, tushen sauti na blues na Kansas City zuwa mafi ƙwarewa, muradin mawaƙacin Harlem Renaissance na New York.

Jazz da Juyin Halitta

Ingantawa yana cikin zuciyar jazz. Ba kamar yawancin nau'ikan gargajiya da suka dogara da tsayayyen abun da ke ciki ba, jazz yana ƙarfafa mawaƙa su ƙirƙiri da sake fassara waƙoƙi da sautin a yayin wasan kwaikwayon. Wannan aikin yana haɓaka zurfin haɗi tsakanin 'yan wasa, masu sauraro, da lokacin kanta. A cikin tarihin jazz, fasahar haɓaka ta samo asali sosai, yana nuna canje-canje na al'adu da fasaha.

Jazz na Farko (Dixieland): Ƙarfafawa ta Ƙungiya

A farkon shekarun da suka gabata, jazz na Dixieland ya ƙunshi haɓaka ta gama gari inda duk mawaƙa (trumpet, clarinet, trombone, sashin rhythm) a lokaci guda suka ba da gudummawa ga sauti mai rai, mai yadudduka. Kowane kayan aiki yana da rawar trumpet ya ɗauki waƙa, clarinet ya ba da kayan ado, kuma trombone ya ƙara goyon bayan jituwa da kontra-jigo. Wannan rubutun polyphonic ya buƙaci sauraro mai ƙarfi da hulɗa, ƙwarewa wanda ya kasance mai mahimmanci a cikin yanayin haɓaka zamani kamar zaman jam ko haɓaka ƙungiya mai gwaji.

Zamanin Swing: Mai Waƙar Solo

Tare da tashin manyan ƙungiyoyi a cikin shekarun 1930 da 40, haɓaka ya canza daga hulɗar rukuni zuwa nuna ra'ayi na mawaƙa na mutum. Ƙungiyoyin da Duke Ellington, Count Basie, da Benny Goodman suka jagoranci sun ƙunshi sassan da aka tsara tare da solo mai haɓaka. Wannan zamanin ya ga fitowar mai solo a matsayin tauraro, tare da siffofi kamar tenor saxophonist Coleman Hawkins da trumpeter Roy Eldridge suna tura fasaha na kayan aiki da kuma ƙwarewar jituwa. Solo ya zama labari mai mahimmanci, gina tashin hankali da saki a kan wasu kide-kide.

Bebop: Ƙarfafawa da Saurin Da Ake Yi

A tsakiyar shekarun 1940, bebop ya sauya fasalin jazz. Charlie Parker (FLT:1) (alto sax), Dizzy Gillespie (FLT:3) (trumpet), da kuma Thelonious Monk (FLT:5) (piano), bebop ya nuna saurin saurin gudu, canje-canje masu rikitarwa, da kuma layin solo mai matukar kyau. Masu haɓaka sun watsar da kayan ado na sauƙi; maimakon haka, sun gina sababbin waƙoƙi a kan tsarin haɗin kai mai rikitarwa, sau da yawa ta amfani da sikelin da aka canza da sautin wucewa. Bebop ya buƙaci ƙwarewar fasaha da ilimin ka'ida. Tasirinsa akan haɓaka zamani yana da zurfi daga ilimin jazz (inda yaren ke da saurin kai) zuwa ga masu fasaha na rock da guitar da ke kwaikwayon bebop.

Jazz na Motsi: 'Yanci Ta Hanyar Sauƙaƙe

A ƙarshen shekarun 1950, Miles Davis da John Coltrane sun ba da shawarar jazz na zamani, hanyar da ta sauƙaƙa tsarin haɗin kai ta amfani da ƙananan sikelin (hanyoyi) na tsawon lokaci. Wannan ya ba wa masu sauraro damar samun ƙarin 'yanci da sarari don bincika rubutu, motsi, da motsin rai ba tare da yin saurin canzawa ba. Albums kamar Kind of Blue (1959) sun nuna yadda haɓaka zai iya samar da zurfin magana, tunani mai zurfi. Modal jazz ya yi tasiri sosai kan salon haɓaka a cikin psychedelic rock na baya, kiɗa na yanayi, har ma da fim, inda yanayin yanayi ya zama gama gari.

Jazz na Kyauta: Ƙetare Dukan Ƙasashe

A cikin shekarun 1960, free jazz, karkashin jagorancin Ornette Coleman, Cecil Taylor, da Albert Ayler, sun watsar da matakan da aka riga aka ƙaddara da tsarin gaba ɗaya. Improvisation ya zama atonal, dissonant, da kuma rhythmically unpredictable.

Hanyoyin Ingantawa da ke da Muhimmanci ga Jazz

Jazz improvisation ba kawai na halitta ba ne; ya ƙunshi wasu fasahohin da aka koya waɗanda ke haɓaka kerawa ta kai tsaye. Fahimtar waɗannan kayan aikin yana taimakawa wajen bayyana dalilin da ya sa jazz ya ci gaba da zama filin horo ga masu gyara zamani a duk fannoni.

  • Kiran da Amsa: An samo asali ne daga al'adun kiɗa na Afirka, wannan fasaha ta ƙunshi magana (kira) na jagora wanda wani mai kunnawa ko rukuni ya amsa (amsa). Yana haifar da tattaunawa da haɓaka ƙarfi daidai da mahimmanci a cikin yaƙe-yaƙe na hip-hop, zaman jam na rock, da kuma muƙamin lantarki a raye.
  • Ci gaban Motsi: Masu haɓaka suna ɗaukar gajeren motsi mai sauƙi (wani tantanin rubutu) kuma suna haɓaka shi ta hanyar tsari, juyawa, canji mai sauƙi. Wannan fasaha, sau da yawa ana alaƙa da John Coltrane, yana ba da daidaito da gudanawar labari, wanda aka yi amfani dashi sosai a cikin mawaƙa na fina-finai da wasan bidiyo.
  • Kayan wasan Bebop sun haɓaka ƙamus mai yawa na arpeggios da sikelin don kewaya canje-canje masu rikitarwa. Masu haɓaka zamani a cikin pop, soul, da fusion sun dogara da irin waɗannan ƙirar.
  • Rhythmic Displacement and Syncopation: Jazz improvisation sau da yawa taka tare da saitin da aka saita a waje da ake tsammani. Wannan maganganun da ba a saba da su ba shine tushen shirin funk, hip-hop, da EDM drum.
  • Space da Shiru: Miles Davis ya shahara ya ce, Ba sautin da kake wasa ba ne, sautin da ba ka wasa ba ne. Shiru na dabarun yana haifar da tashin hankali da numfashi darasi da aka yi amfani da shi a cikin samarwa da wasan kwaikwayon zamani.

Tasirin Jazz a kan Ingantaccen Zamani

Jazz ta ingantaccen ɗabi'a ta mamaye nau'ikan kiɗa da fasaha da yawa. DNA na jazz improvisation ya bayyana a cikin guitar guitar solo, hip-hop freestyles, saiti na lantarki, da kuma ayyukan zamani na zamani.

Rock da Fusion

Masu fasaha kamar Jimmy Hendrix da John McLaughlin sun kawo haɓaka jazz zuwa dutse. Hendrix's extended solos da amfani da feedback sun yi ma'ana ga yanayin motsin zuciyar jazz, yayin da McLaughlin's Mahavishnu Orchestra ya haɗu da tsarin haɗin jazz mai rikitarwa tare da makamashi na dutse. Juyin juya halin 1970s, tare da ƙungiyoyi kamar Weather Report, Return to Forever, da Herbie Hancock's Headhunters, sun yi amfani da haɓaka jazz kai tsaye zuwa funk da kayan lantarki. Modern jam bands (Phish, Medeski Martin & Wood) da kuma kayan aikin rock (Chon, Polyphia) suna ci gaba da wannan al'adar.

Hip-Hop da Samfurori

Ana danganta tushen haɓakawar hip-hop sau da yawa ga kalmomin magana na yau da kullun (free-style), amma masu samar da nau'in suna da yawa daga jazz. Samfurin haɓakawar jazz daga bugun jini (misali, Amen, Brother) zuwa madaukai masu sautin sauti ya zama dutsen kusurwar hip-hop na zamanin zinariya. Masu samarwa kamar J Dilla da Madlib sun gina dukkanin kundin a kan samfurin jazz, suna jaddadawa kan swing da groove. Masu samar da bugun bugun zamani suna amfani da muryoyin jazz da fasahar tsarawa ta hanyar haɓaka don ƙirƙirar kayan aiki na musamman. Musayar haɓaka tsakanin DJs da MCs yayin wasan kwaikwayo na rayuwa tana nuna kiran-da-amsa na farkon jazz.

Ƙungiyar Ƙungiya ta Tsohon Al'umma da ta Yanzu

A ƙarshen karni na 20, mawaƙa kamar John Cage, Morton Feldman, da Anthony Davis sun haɗa abubuwan da ke cikin jazz a cikin ayyukansu. Masu zane-zane masu ƙarancin ƙarfi (Steve Reich, Philip Glass) sun yi amfani da fasahar rhythmic phasing da maimaitawa da aka karɓa daga jazz ostinatos.

Waƙar Waya

Mai amfani da kayan aiki na lantarki mai rai ta amfani da masu hada-hadar, injunan drum, da masu sarrafa dijital ya yi wa jazz babban nauyi a kan hulɗa a ainihin lokacin. Masu fasaha kamar Thundercat, FLT: 1, Flying Lotus, da FLT: 4 Squarepusher suna haɗuwa da haɓaka jazz tare da samar da lantarki, ƙirƙirar sauti mai gudana. Tare da haɓaka na lokutan gaske da kayan aikin AI, ka'idodin haɓaka jazz na sauraro da amsawa suna ba da labari game da yadda mawaƙa na lantarki ke tsara tsarin zaman su.

Gidan Wasanni, Dance, da kuma Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan Kayan K

Bayan kiɗa, haɓaka jazz ya rinjayi wasan kwaikwayo (aikin haɓaka, wasan kwaikwayon da aka tsara), rawa na zamani (masu wasan kwaikwayo kamar Martha Graham sun yi amfani da hanyoyin haɓaka), da zane-zane (hoton aiki na Jackson Pollock, wanda ke daidaita da jazz kyauta).

Manyan Mutane da Suka Kafa Ƙarfafawa na Jazz

Yawancin mawaƙa masu ban mamaki sun yi tasiri sosai ga fasahar haɓaka ta hanyar aikin su na farko.

  • Louis Armstrong: [1] Ya sauya fasalin wasan kwaikwayo na solo tare da wasan trumpet mai ban sha'awa da fasaha. Solo na West End Blues (1928) yana daya daga cikin mafi yawan rubuce-rubuce da kuma nazarin tarihin jazz, yana bayyana rawar mai wasan solo.
  • Charlie Parker: Wani gumaka na bebop wanda ya sake bayyana rikitarwa da saurin haɓaka.
  • John Coltrane: [1] [2] Ya binciki hanyoyin modal da free jazz (misali, A Love Supreme [3], [4]), [5] ya tura iyakokin ruhaniya da fasaha.
  • Miles Davis: Ya ci gaba da haɓaka salon sa, daga bebop zuwa sanyi jazz zuwa jazz na zamani zuwa haɗuwa. Kind of Blue ya kasance mafi kyawun kundin jazz da kuma babban darasi a cikin ingantaccen yanayi, yana rinjayar kowa daga mawaƙa na rock zuwa mawallafan fim.
  • An san shi da zaɓin sa na musamman, motsawar sa na yau da kullun, da kuma furci na musamman. Ayyukansa na wucin gadi, kamar a kan Straight, Babu Chaser, suna ba da samfurin asali da sake ƙirƙirawa wanda ke da ma'ana tare da masu gwaji na zamani.
  • Billie Holiday: [1] Ko da yake ta kasance mawaƙa, hanyar Holiday ta yin magana game da iyawarta ta lankwasa lokaci, jinkirta ƙuduri, da kuma isar da zurfin motsin rai ya canza fasahar sake fasalin waƙa. Tasirinta ya faɗaɗa zuwa R&B na zamani, rap flow, da masu fasaha na magana.
  • Dizzy Gillespie: Tare da Parker, Gillespie ya fassara rikitarwar bebops zuwa wasan ƙaho, amma ya haɗa da sautin Afro-Cuban (misali, Manteca), yana buɗe haɓaka jazz zuwa tasirin kiɗan duniya wanda ke ci gaba a yau.

Nan gaba na Jazz da Ingantawa

Yayin da fasaha da musayar kiɗa ta duniya ke hanzarta, haɓaka jazz ya kasance mai haɓaka da haɓaka nau'in fasaha. Masu fasaha na zamani suna haɗa abubuwan gargajiya na jazz tare da sautin duniya, sautunan lantarki, da wasan kwaikwayo na multimedia. Kamasi Washington, FLT: 3, Christian Scott aTunde Adjuah, da Robert Glasper sun haɗu da jazz tare da hip-hop, neo-soul, da samar da lantarki, suna isa ga sababbin masu sauraro. Tsarin dijital kamar YouTube, Twitch, da Ableton Link sun faɗaɗa damar haɓaka haɗin gwiwa a duk faɗin nisa, suna haɓaka sababbin al'ummomi. Kayan aikin AI-mai taimakawa (kamar nazarin jituwa na ainihi da haɗin kai) suna gabatar da ƙalubale da tura masu haɓaka don ayyana abin da ke nufin damar da ba ta dace ba a cikin shekarun dijital.

Cibiyoyin ilimi daga Kwalejin Kiɗa ta Berklee zuwa ƙungiyoyin jazz na makarantar sakandare a duk faɗin duniya ci gaba da haɓaka ƙwarewar haɓaka, yana tabbatar da rayuwar jazz ga tsararraki na gaba. Bikin jazz (Montreux, Newport, North Sea) yanzu suna da mahimmanci a cikin haɗuwa, jazz na duniya, da haɓaka gwaji. A cikin zamanin da ke darajar bidi'a da bayyanar gaskiya, jazz ta gadon haɓaka ya kasance mafi dacewa fiye da kowane lokaci. Babban darasi na haɓaka jazz cewa kerawa yana bunƙasa cikin ƙuntatawa, sauraro yana da ƙarfi kamar wasa, kuma cewa ana iya canza kurakurai zuwa fasaha yana ba da samfurin ga duk fannoni na kirkira.

Ƙarshen

Daga tushen al'adunsa a New Orleans zuwa tasirinsa na duniya a yau, jazz ya ƙera yanayin ingantaccen kiɗa. Tarihinsa yana nuna ci gaba da ƙira, kerawa ta mutum, da ruhun haɗin gwiwa. Yayin da jazz ke haɓaka, yana ci gaba da ba da wa mawaƙa da masu fasaha wahayi a duk faɗin nau'ikan, yana tabbatar da matsayinsa a matsayin dutsen tushe na aikin ingantaccen zamani. Ko a cikin zaman jam mai gudana ta AI ko kuma a cikin ƙungiyar club live, ruhun haɓaka jazz zai kasance mai mahimmanci, yana tunatar da mu cewa mafi kyawun kiɗa galibi yakan fito ne daga lokacin, ba shirin ba.