Twenty-first Century Societies

Views on Jazz Music

And how it differs From the
Twentieth Century.
Introduction.

Jazz music is well known and is played by many. In this research paper I intend to look at the comparison
between the twentieth and twenty first centuries relationship with jazz culture.
How has jazz evolved? Has the way society relates to jazz music changed its out-look on jazz music?
I am interested to find out if societies views are the same as when it first became popular in the early
twentieth century and if not why?
Jazz is viewed differently to other music forms, why? The way black and white cultures slowly integrated
as a result of the civil rights movement and racial equality that first shook America and then spread
throughout the world through important figures such as Martin Luther king definitely had an influence on
jazz music. This helped black jazz musicians greatly enabling them to play freely in todays society. After
the Second World War jazz grew in popularity gaining a worldwide stage, which had a life changing
affect on the culture that surrounded it.

Simon Friths book Performing Rites covers jazz music fairly extensively, the chapter The Social
Response in part one of the book Music Talks. Continuing on page 44 and 45 the book talks about
symphonic jazz. (Frith 1996) Ron Wellborn has examined the parallel discursive shift in American jazz
criticism. In brief, in the 1920s critics (music critics rather than jazz critics then) focused on "symphonic
jazz" and ignored improvised in samples. The early critics, that is to say, were interested in ways which
jazzs quote non-intellectual elements (rhythm, showmanship) were being used by serious
composers (like Stravinsky or George Gershwin) in "complex" musical structures; by the 1930s
symphonic jazz was rarely treated sympathetically by even music or, now, jazz critics. There were two
elements in this shift. First, it began to be argued (by Roger Prior Dodge in the dancing Times in 1929,
for example) that jazz was not folk music but an art music. It was already composed"; its "none
intellectual" elements were therefore already being used to maximise artistic effect. Symphonic jazz was
thus an arrogant nonsense. As Borneman, writing nearly 20 years later (when jazz is critical criteria was
well established) puts it: there is no such thing as symphonic jazz. By our standard "symphonic" Jazz is
a term of abuse and not of praise. Bix Beiderbeckes little piano pieces which have been compared to
Debussy would therefore tend to make us doubt rather than confirm his value as a jazz musician.
Gershwin's Rhapsody in blue, American in Paris, concerto in F, etc., May be admired for any amount of
reason but certainly not for raising jazz to a level of symphonic music." Jazz has a function in its own
right: any attempts "raising" it can only result in lowering its to a level of a music hybrid.

When this sort of argument was first made, in the late 1920s, it was still assumed the jazz was a
"primitive" art; its musical values were primitive musical values. The best jazz was the most "low-down"
Jazz: it was best played by black jazz musicians and, in Dodgers words by "those lower members of the
white race who have not yet lost theyre feeling for the primitive." Jazz, in short, had to be understood as
"a musical form produced by the primitive inmate musical instinct of the Negro," and the task of jazz
critics was, in the words of B.H.Haggin in 1930, the oppose "arty refinement." And their was clearly a
racial shift here: whereas before it was critically obvious that white Jazz was better than black jazz
because of its refinement, now the same music description led to the opposite judgement: black jazz was
better than white because of its lack of refinement.

To try and use smaller examples of this quote would not have worked because I feel that to understand the
point being made the whole quote, as a section needs to be used. This certainly reflects the outlook on
jazz music in the 20th-century and also highlights in particular the racial issues of both the nineteenth and
twentieth centuries. Unfortunately it could also be said that not a lot has changed in the twenty first
century. Certainly jazz music was looked down upon as a lower form of music Frith states" this sort of
argument it was first made, in the late 1920s, it was still assumed that jazz was "primitive" art. He goes
on to say that its musical values were primitive musical values. The best jazz was the most "low-down"
Jazz: it was best played by black jazz musicians and, in Dodgers words by "those lower members of the
white race you have not yet lost their feelings for the primitive." Jazz is short had to be understood as "a
musical form produced by the primitive Inuit music instinct of the Negro,"
Society dismissed this style of music as being not a valid form of musical expression in comparison to
other music styles such as the easy listening type of music from well-known stars such as Sammy Davis
Junior, Andy Williams and Tony Bennett. Or the much loved classical composers such Stravinsky,
Handel or Bach.

Referring back to the quote above it also shows that societies view on jazz music changes somewhat as
the 19th-century progresses, however it still feels like the emphasis on the racial divide is at the forefront
in peoples musical opinions. Frith suggests that B. H. Hankin after comparing both white and black jazz
suggested that although public opinion was that white jazz was more refined as a result of ethnicity and
racial issues in fact it was black jazz that was more refined and eventually seen as of a higher quality
even though it had been slated in the past by music critics.

During the twentieth century between in particular 1945 to 1950, jazz was had become more popular and
referred too more as an art form than something exotic. This was as a result of the musical influences that
the United States Army bought with them as they were deployed throughout the European theatre of
conflict world.

(Hodeir 1975) quotes in his book Jazz: Its Evolution And Essence that Chapter 1 page 7 Since the
Second World War, Jazz has spread appreciably and has become considerably better Known. The day is
past when this music was symbolized for Europeans by the names of Paul Whiteman, George Gershwin,
Ted Lewis, Jack Hylton, Jean Wiener, and Clment Doucet, and when the colored star of The Jazz Singer
turned out to be a white man, Al Jolson, made up in blackface for local color. By now it had become
evident that jazz is the Negros art and that almost all the great jazz musicians are Negroes. People are
now acquainted with Louis Armstrong, Duke Ellington, Sidney Bechet, and Dizzy Gillespie; they have
been applauded through out France, in the same concert halls as Gieseking and Menuhin.

Politics and repercussions

Politics in all industries can have repercussions; in music this can have a crippling affect on an individual
musician, bands, music genres, publishers, A&R, PRS and record labels.
Politics is a very touchy and raw subject in society, the mention of a political party in the wrong area or
social circle can cause arguments and huge debates. A good example of how music has been used in
political situations is the election campaigns in the United States. In music, politics can be a deciding
factor in the popularity and success or failure of a particular political party. The politics in music can be
anything from in fighting between bands or artists and publishing/recording labels, or something more
substantial like race, homophobic/trans phobic remarks.
Rivalry between bands and music styles is normal, a lot of people have prefrenceses to bands and styles
of music, for example Beatles fans and Monkeys fans had a friendly rivalry where as mods and rockers
had a violent rivalry bordering on gang culture. Personal preferences and tastes often clash.
It only takes one group in society to clash with another group or culture to create havoc that can spread
worldwide, e.g.racial differences.
Given the ferocity of the mods and rocker conflicts, it is safe to say that the popular music sector and the
jazz sector were nowhere near the level of animosity of the Mods and Rockers, however it is still
something that is understood as a rivalry.
A divide in the music industry can be a great for publicity, as with the mods rockers even though its a
period in history that is looked upon as an unsettled period the music preference wasnt really the issue, it
was more the gang culture between the movements. Never the less this had an affect on the music styles
of Rock n Roll and Mod music.

(Gebhardt 2001 Going For Jazz) writes It is the way that social subjects in different historical contexts
orient their social practices, their practices, their desires, their attitudes and values, and so give
productive meaning to their lives situated subjects of a given social order.

In the book Music and Politics by John Street, Street, he looks at jazzs political aspects. In the chapter
Music and The Political Imagination Street quotes both Simon Reynolds and Jacques Attali even
though Reynolds quote alone does not provide direct evidence coupled with the quote from Attali does
make sense once it is put into context.(Street: 168) Just as music can allow us to imagine other people,
so it may conjure up other worlds both utopian future ones real, alternate past ones Simon Reynolds
(2010) argues that music or at least some music has always looked forward, has summoned up the
future, and that it has done so more affectively and plausibly than other cultural forms. The utopian
power of music is evoked by Jacques Attali (1985: 133) in the notion of composing: Music was, and
still is, a tremendously privileged site for the analysis and revelation of new forms in our society. On of
the examples he uses is the free jazz that emerged from the US in the late 1960s. Free jazz, he insists
(ibid. 138), was the first attempted to express in economic terms the refusal of the cultural alienation
inherent in repetition, to use music to build a new culture.
This image of jazz has not gone unnoticed and has been in an on line video interview with American Jazz
bassist Ciecle McBee

Where does jazz lie within society and politics now?

The jazz movement has been very much involved in the political scene however the jazz movement was
very much the opposite and was the popular choice of music in some cases. The free jazz movement and
the bebop movement to some extent were popular because it they were non-conformist towards the
normality and the guidelines of jazz. The popularity of jazz branched out in all sub-styles, for example
The Rat Pack and also Frank Senatras solo work, Tony Benett and Dean Marten were all popular stars
being popular T.V celebrities of the time. They were very much house hold names.
The big band style and the easy listening styles were popular with all ages whilst the main jazz
movement its self was progressing and was becoming a more popular music style. Jazz as a whole had
become popular, as a result more styles started to emerge such as Bebop, Free jazz and Acid jazz and
Fusion. These started to appear in the later 20th century.
So jazz was now being viewed as a serious music form. Once seen as a primitive form of music created
by Negros it had now come of age. (Frith 1996) states in his book Jazzes Racial Division and
Assignment of Racial Stereotypes.
(Street, 2012) also quotes (McKay, 2005) in the chapter imagining a community In the 1950s in Britain,
jazz came to signify a certain kind of political affiliation for white middle-class suburban teenagers. This
example emphasises still that jazz was very political and its connection with class, race and age group.
Continuing on with Streets book following on from the previous quote Street reflects on McKays writing,
(Street: 2012) What I take from McKays example is the idea that the music can, and has, produces
understandings of experiences that might otherwise be overlooked and ignored. Music enables internal
deliberation, but does it do more than that? Does it make us feel differently in politically significant
ways?
Jazz and racial division is a well-known partnership. Jazz didnt evoke racial division, the segregation law
played party to that. The divide wasnt necessary and one that now is bridged, however Street highlights
an important question as jazz as previously mentioned has had a large connection with political
movements such as the civil rights movement in America in the 1960s
Looking inwards societys view.

Creating a Utopia

(Frith 1996) Popular music takes on the role of the score in art music - as a kind of register of what
the music is ideally - but then the musics live performance takes on its own value as unique, audience -
involving contingent experience:
Given jazzs history has been one of colourful content, jazz may have received a bad reputation with
some aspects of society, however jazz is still popular with in the music industry and still influences artists
today.

Even though this is true jazz isnt always the most popular choice and is pushed aside as a boring or
rebellious style of music or just an excuse to play what you want and get away with it.
Like the rock and roll movement jazz has been seen as rebellious promoting the idea that jazz is a free
music movement. This is fairly true with the free jazz movement but jazz can also be fairly structured
especially when it comes the jazz music theory. The complex theory of jazz and its technicality can be off
putting to both musicians and listeners. Could this be contributing to societys view on jazz music and
culture? Referring back to Streets quote on summarising McKays findings we find that music can produce
feelings and experiences for listeners that can be overlooked or misunderstood. More so with the area in
question, looking at this in a context of looking at how society views jazz culture with people listening to
jazz music. When it is not a normal style of music in the music library it could give an in-site in to why
jazz is viewed and how its is perceived in society. Referring back at a Simon Reynolds quote in which he
describes musics ability to create images of other people and the worlds jazz is no exception. It is true
jazz is with in limitations despite being free and uncountable as a secure and containable music form.
Yes that is a contradiction of sorts however jazz has the ability like all forms of music to create
experiences for other people that are unique to each other. It can be so free that the experience is one of
alienation and unsettling to listeners. At the same time jazz is very much the musicians personal
expression creating a personal utopia for the individual musicians. (Gebhardt 2001) As the bass player
Chuck Israels remarked in a recent interview with Berliner: No matter what youre doing or thinking
about beforehand . . . from the very moment the performance begins, you plunge into that world of
sounds. It becomes your world instantly, and your whole conscience changes.
Reflecting on that Statement, music is something that creates alternate realities in the head of the
performer its fair to say that its something that we all can relate to to as the listener or performer. The
problem sometimes occurs when its pleasant and ideal for the performer but not the listener, creating a
dissent which can get misunderstood as dislike because maybe sometimes the melody is too complex or
too (free.)
Referring to a comment from an interview for this paper a participant commented I think some bands
work can be to free and its hard to follow, making me feel alienated from the listening experience

No mater what background, social standing or genre it is clearly evident that music will always create
something special for the individual that has a personal connection for many different reasons. It appears
to be that this ideology stayed the same during the shift in social rights and they way racial minorities
were viewed. As jazz grew in popularity it created its own utopia that every one could share. To put this
in to context, going back to the 1940s wartime, swing bands such as The Glenn Miller Big Band were all
the rage. Dance halls were filled creating a feel good vibe, a utopia that was shared by all. Granted that
this wasnt all the music doing. The oppressions of wartime in America and England had had a strong
effect. As dancing, listening to jazz and swing wasnt rationed; going to dance halls was a regular
activity, and a positive moral booster. However segregation was still in play, many black American
service men still experienced this in America and some parts of England and Europe. Never the less the
utopia was still there for all. Despite this segregation that caused blacks and whites to be separated, jazz
and swing bands were still accessible to listen to and dance to at different times in different places. The
slow change in social rights and the desegregation in the United States lead to jazz becoming more
popular. The newfound utopia was then shared across all aspects of society. Therefore jazz has also
changed since its roots in the early Twentieth Century. Does this mean that the stylistic content of jazz
has had a role in jazzs success or has it had the opposite effect on societys view of jazz culture?

Certainly one thing that can be noted is that the shared utopia that was enjoyed by masses of the 1940s
and early 1950s is not longer there, the free jazz and bebop movement in the 50s and 60s created a- new
type of listening experiment, one were the musician is the centre. Tis is unlike the 1940s swing band style
jazz were the emphasis was on the listener being composed for dancing and pleasure.

My method for collecting data was by using a Google docs questionnaire. I posted the questionnaire on
social media to my friends and contacts, 618 in total, my entire mailing list, and the age range ranging
from 18 to 42. The feedback has been very disappointing as after five weeks only 17 people replied with
one other still to return the information. Whilst collating the data form the online questionnaires it was
interesting to see just how varied the music styles participants said they listen to. All the participants who
took part were with in the 18 30s age bracket. I was hoping to collect data from a wider age range. The
data from the questions suggests that jazz is no longer considered popular music in the 21st century and
that society over looks jazz and its background. Over half the participants stated that they do not consider
jazz to be popular music. The data suggests the way society looks at jazz is that it is very progressive and
a free music style. When asked the question, do you think that the progressiveness and free nature of jazz
affect peoples view on jazz culture? Just over half the participants stated that they felt partly the reason
jazz is viewed differently is because that its free natured progressive style is controversial compared to
other music genres. The data shows that the 18-30s age ranges are aware of jazz music and its standing
in society and how their pears can be ignorant to the music style. Unfortunaly no one above the 18-30s
group replied to the survey and participants in the 18-30s group were not really aware of the relationship
between adults and jazz music in the 21st century.
I asked five people if I could interview them, both Julian Joseph and Mike Outram who are professional
musicians said they were to busy to do an interview, Geoff Write said he would contact me with a date to
complete the interview but has yet to give me an answer. The remaining two interviews are listed below.

Interview 1

During an informal chat with a member of public on the train between Doncaster to Peterborough
regarding my research document he offered to give his experiences and thoughts on jazz music and its
culture. Participant A (who wishes to stay anonymous in the research paper) asked me not to record the
conversation but allowed me to take notes and transcribe comments and quotes. For the purpose of
referencing, this individual is known as participant A aged 29.
I asked him about his relationship with music. He said I began playing drums for nearly 12 months and
dont get much time to practice but music is one of the best things to relax at the end of the day. He also
went on to say that he wished he could have more time to play the drums and get involved with music.
Participant A was then asked if he had any experience with jazz music as we had been previously talking
about jazz music and how did I get in to this style of music. Participant A told me that he had been
playing drums before the film whiplash came out. He said that the file really pushed home to start listing
to jazz music and start to play jazz as well, staying on the same track the next question I asked was simply
what type of jazz do you like? The reply I received was not the most helpful as he replied well I am
really only getting in to jazz properly I guess I really like the stuff I can follow melody wise. As a
generalisation most people prefer music with a melody that they can follow, for example the big hits in
the charts all have simple but catchy melody which people remember and can follow easily when
listening. How ever after discussing this matter further I asked him if there are any artists that he felt
stood out, he told me he was in o Miles Davis, Wes Montgomery, David Brubeck and other artists like
John Coltrane, he then said that with Miles Davis it depends on the years, as he likes the modal
compositions of Miles, however the more free jazz he found uncomfortable to listen to. When I listen to
the more free and less melodic and less tune full jazz I feel alienated and uncomfortable and I can settle
and relax. He also said something similar again almost repeating himself in different words he really
emphasised the point that jazz can be too free and that it is something that people cannot cope with, his
comment the second time round was I just feel some bands work can be to free and its hard to follow
making me feel alienated from the listening experience.

What I can take form participants As evidence is that jazz music to many is still a fairly new area to
explore but the freedom of jazz can be too much and too free, it can be overwhelming to someone who is
just getting in to jazz as a music style. This can be linked to an earlier quote by Gephardt when he
discusses jazz bassist Chuck Israels style, (Gebhardt 2001) from the very moment the performance
begins, you plunge into that world of sounds. It becomes your world instantly, and your whole
consciences changes.
This backs up Participant As comments as the quote goes on to say it becomes your world instantly,
and your whole conscience changes. This suggests that the listener is not really being considered by the
performer in the sense that the music theyre playing and hearing in their heads and what theyre feeling
when improvising is not always interpreted in the same way by the listener. As I have said before music is
such a personal. The way the musicians feelings and emotions are incorporated into the music can often
not have the same effect when listened to by others. This can create the barriers.

Interview 2

In a second interview with the Reverend Glenn Cannon age 61, we touched on the same subjects again,
the same starting question was asked, how did you get into jazz and what is your connection with jazz
music.
Glenn stated, I was brought up in a house that was full of jazz and other expresions of acoustic music.
Glen then went on to explain his conection with jazz music, how he was ifluencend by his dad and that
jazz was the go to music style in their house. Glen explained how his dad had a conection to jazz music
especilly the jazz styles of the 1920s emanating from the United States. He went on to explain later on in
the interview his dads performance conections with jazz music. I asked Glenn about his views on jazz
music creating a utopia and alternate realty quoting John streets book quoting Simon Reynolds talking
about creating a utopia with music, the interview moved on to cultures and looking at how white
musicians appropriated jazz music (a music of black origins), I asked Glenn his thoughts on how
appropriations of jazz culture may have had an affect on societies view, I mentioned an interview with
Cicel McBee (American jazz bassist) wear they touch on white jazz musicians would cross the borders
later ant night to play with the black jazz musicians in the days of segregation, Glenn suggested that it did
have an effect on the view of jazz culture but he didnt have an idea as to the extent.

So what can be said about the societys placement of jazz music a century on from its creation?
Personally jazz is still as popular as it was in its peek in the late 20th century though this somewhat bold
statement contradicts the data for the research questionnaires, I cant help feel there is some truth in this
statement. Yes the popular music scene has changed and the way people think and categorise what is
popular music changed, jazz still keeps rolling at its own pace, therefore to say jazz is unpopular in the
21st century in comparison to the 20th century is unfair as 21st century society is a lot more diverse.
Culture and social boundaries have merged or faded completely. As society has grown in the later half of
the 20th century with the introduction of computerised music the MTV era, the rise of the music video and
the introduction of synthesized music and portable synthesizers the jazz world has lagged behind. Yes
some bands and artists like Level 44, Stevie Wonder and George Benson are still popular as they are more
mainstream but the core circle of the jazz scene has simply just got left behind.

But and its a big but, my opinion does not merit academic acknowledgement or be the conclusion of this
research paper as it is purely an opinion. I can only go with the data that has been collected form the
research forms to base the conclusion on, the data collected from the questioners highlights the difference
between 20th and 21st centurys opinion and outlook on jazz music and culture.

Yes it is clear that it has changed, this is evident from the data collected. The general opinion is that it is
because jazz isnt constricted in its structure compared to other music styles. Another subject worth
noting in the data is that jazz is not in the forefront of the music scene, it is not up in the spotlights and
therefore does not get the same media attention other styles of music get. This creates a divide between
the popular music scene and the alternative music scene. Alternative scene jazz music is its on genre and
has sub genres, its own culture and connections to styles of fashion E.G. jazz influences on 1920s fashion
and later in the 1950s adopted as the American College Fashion. The Ivy League fashion style popular
amongst students in the 1950s in American campuses like Harvard and Yale was the style of many jazz
artists.
(How ever alternative fashion its a an extension of the the alternative music scene, meaning it was
influenced and creative by.), for the purposes of the conclusion I need to put in to jazz in to context,
meaning jazz in not view as popular music in the 21st century there for it can be counted as alternative
music. Yes Jazz is its own style but to explain jazzes standings in the music scene this is the best way.
Granted the conclusion was to be expected and in most respects a fairly easy one to make, there is another
aspect to my findings I did not expect. While collating my data a recurring theme of its popularity being
in the shadow of Rock and Roll (and other popular music genres), popularity is fickle it can disappear as
easily as it can appear, with jazz music there is no exception jazz was popular but has lost its popularity in
the mainstream sector. Jazzes popularity was in the mid 20tt century, in the later half of the 20th century
when rock and rolls popularity was on the rise. The 1950s was the start of the television era were popular
acts like the beetles were receiving popularity as a result of the media attention, paving the way for more
rock and roll acts thus leading to a revolution in popular music. Looking back at my original statement at
the beginning of my conclusion witch stated that jazz fell behind as society evolved, id like to amend it, id
like state that jazz fell behind in the evolution of modern society because it was not in the medias eye like
popular music and the rise of rock and roll bohemian and hedonistic antics with the abuse of drugs,
alcohol and sexual immorality was more prominent and memorable in the wider society, were as jazz
musics rain as popular music was not heavily mediatised s there was not the ability to provide heavy
media coverage compared to the1950/60s.

To summarise, yes society in the 21st century often views jazz in a different way to the 20th century, jazz
has evolved over its history from the beginning of the 20th century in New Orlieans and went from the
back streets to the world stage. In short jazz is miss understood or written of in society as being old and
boring and some time to arty mainstream radio, but I feel this is due to the mentality of society.
 REFERENCIES

FRITH. S. 1996. Performing rights, on the value of popular music.

GEBHARDT. N. 2001. Going for Jazz. Pages 26,169.

HODIER.A. 1975. Jazz: its evolution and essence. Page 7.

McKAY. 2005. Circular breathing: The Cultural Politics of Jazz in Britain.

STREET.J. 2012. Music and Politics. Pages 168,169,170,171,172 173.

BIBLIOGRAPHY

CLOLLIER. J.L.1993. Jazz the American theme song.

DeVEAUX. S. 1997. The Birth of Be-Bop, A social and musical history.

FRITH.S. 1996. Performing rites, on the value of popular music.

GELLY.D. 2014. An Unholy Row, Jazz in Britain and its Audience 1945-1960.

GEBHARDT. N. 2001. Going for jazz, music practices and American Ideology.

GODBOLT. J. 2010. A history of jazz in Britain 1919-1950.

HOBSBAWM.E.J. 1989. The jazz scene.

HODIER. A. 1975. Jazz: its evolution and essence.

JONES. L. 1969. Black music.

LEE. E. 1972. Jazz and introduction.

PERRETTI. B.W. 1997. Jazz in American culture.

STREET. J. 2012. Music and politics.

WILLIAMS. M. 1989. Jazz in Time.

WEB REFFERENCIES

https://www.youtube.com/watch?v=NqQKmMolxEg

APPENDICES

https://docs.google.com/forms/d/1CLIGbDcgMKS4slqHZvdpRIJ41ubtRXQ7VRgyqFWrn0A/edit
Marker comments:

This is an interesting subject area and you have touched on several of the important aspects.
However it is not particularly well organised and this has led to a fairly meandering finished
report. You have used excerpts that are far too long and then struggled to make your own points
clearly when using shorter quotes.
I think it would have helped to have clearly defined outline.
From a presentation point of view there should be a contents page with sections and page
numbering.