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自由爵士 Free Jazz

自由爵士产生于60年代,这种全新的音乐刚一出现,就深受广大爵士音乐家和爵士乐迷的喜爱。
自由爵士不同于以往爵士乐,在和声、旋律方面没有太多的限制,演奏者在演奏过程中可以自由、大胆、随心所欲的发挥。自由爵士具有全新的节奏概念,节拍、对称性被统统打乱,同时,它也强调音乐本身的强度与张力,加入大量的不谐和音,把非洲、印度、日本、及阿拉伯等不同的音乐融合到了一起,采用了印度的西塔尔琴、塔布拉双鼓、扩音拇指钢琴、警笛和大量的电子设备及打击乐器,因此,有些自由爵士乐队看上去就象一支非爵士的先锋派乐队。
自由爵士乐对60代爵士乐的发展起到了深远的影响。

Dixieland and swing stylists improvise melodically, and bop, cool, and hard bop players follow chord structures in their solos. Free Jazz was a radical departure from past styles, for typically after playing a quick theme, the soloist does not have to follow any progression or structure and can go in any unpredictable direction. When Ornette Coleman largely introduced free jazz to New York audiences (although Cecil Taylor had preceded him with less publicity), many bop musicians and fans debated about whether what was being played would even qualify as music; the radicals had become conservatives in less than 15 years. Free jazz, which overlaps with the avant garde (the latter can use arrangements and sometimes fairly tight frameworks), remains a controversial and mostly underground style, influencing the modern mainstream while often being ignored. Having dispensed with many of the rules as far as pitch, rhythm, and development are concerned (although it need not be atonal or lack a steady pulse to be free jazz), the success of a free jazz performance can be measured by the musicianship and imagination of the performers, how colorful the music is, and whether it seems logical or merely random.



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