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... have to be used to describe this, the Jazz age. Since I think Jazz is serious thing, I must be serious in my choice of song titles. 9 Thus one can see the purpose of Ellington's music is to describe the era in which he lives in, very similar to the Classical era composers and the Romantic era composers. In response to the enjoyably of Ellington's music, I admit that Ellington's music has melody in which patrons danced to, but the dance-ability of the music is not inherent but rather an interpretation by the targeted audience.
As Duke once indicated, No notes represent swing. You cant write swing because swing is the emotional element in the audience. 10 The dance-ability of Jazz cannot be used as a distinguishing character, because one can always point to ballet, the waltz, or other manners of dance perpetuated against the backdrop of classic music. Last, large amount of spectators not only dance to Classical music but attend concert halls to listen to their performer, is this critic also indicating that in hearing Classical music one does not find enjoyment? As one author indicates, Like Mozart he, (referring to Duke Ellington) wrote music specifically designed for dance and concert and, again like Mozart, fudged the distinction between the two by the originality and consistency of his vision. 11 Thus as one can see that both Jazz and Classical music are reflection of their artists ideals and social conditions, while also consisting of an enjoyable element to their audience. In this ongoing analysis between the similarities of Ellington and Classical music, one must bear in mind the fundamental composition of all music. The basic elements found in the composition of all musical sound is melody, harmony, tone color, texture, rhythm, and form.
While all music is created through combining these elements, the unique sound of a specific musical genre is dependent upon the proportion ratio of the mixture. 12 As one can see the originality of Jazz rests not in the creation of new elements, but rather with their unique utilization. An example of this can be seen in the accenting of rhythm in Jazz music thus leading some critics to refer it as rhythmic music. In all honesty Jazz is neither more or less rhythmic than any other types of music, it just simply uses rhythm in a different manner. 13 One of the clearest examples between of this link that I have been refereeing to can be seen in Ellington's relationship with Delius. Yet Before I make the comparison between Ellington's Jazz and Delius European impressionism and lyrical romanticism, a note must be made. I am in no way inferring that either composer played an integrate part in the development of the others style.
Ellington's sensitive impressionism shows considerable development before his actual encounter with Delius, and there is little proof that Ellington's style would have changed if he had not even encountered Delius work. The real connection between these two is in the way they both utilize the impressionist technique in their music. Delius close adherence to the impressionist view can be seen in his focus on the mood or emotion stimulated by a scene. Ellington's focus on reactions to events indicates how both composers place the personality of themselves at the center of their piece.
On a more subtle scale, it is well known that Delius was an admirer of early minstrel shows of the 19 th century. 14 These shows were the only theatrical medium in which gifted blacks performers of the period could support themselves and play their music. In them we see the employment of great blues singers such as Ma Rainey and Bessie Smith. Yet contrary to their own propaganda, minstrel shows musical repertoire has an only quasi-black influenced, not the full integration that is often portrayed. 15 The connection of this music can also be seen as the embracing of the African slave culture, while the extent of this embracement is arbitrary, the influence is still there. Yet like Gershwin this employment of the African tonality is not as pronounced in Delius, and yet the concept still advocates an unseen bridge between Classical and Ellington.
While on the surface it may appear that the influence that ragtime played on Jazz has no relevance in this comparative analysis, the truth is ragtime is very much European. While it is common knowledge that European marching bands had immense influence on the development of ragtime, 16 I have decided to focus on the role of syncopation rhythm. This is made up of two essential elements, first in the placement of stress on a weak beat, and the second is the creation of a strong impulse on a subdivision of a beat, called an in-between beat. Now weak beats and in-between beets are also known collectively as off beats, hence the rationale on why syncopated rhythm is referred to as a offbeat rhythm. Yet the important factor to remember is, musicians have always employed this type of rhythm as a stylistic method, with the only differential aspect in regards to rag time is the employment on a large-scale basis. Yet to the regard of many critics, a full composition cannot be based solely on this rhyme, thus only difference in the ragtime implications and that of Classical music is the extent of the utilization.
Now that we have made the connection between ragtime and Classical the question is now asked, does such a relationship exist for Ellington? If one wanted to see the contribution of ragtime on Ellington, all they had to do was look at his first piece ever composed, Soda Fountain Rag. Ellington's early life was spent in the company of the great ragtime pianist whose impact on him as a musician is unfounded. As Ellington himself indicated, Those ragtime pianists sounded so good to me, and they looked so good! Particularly when they flashed their left hands. 17 As one can see, while syncopated rhythm is an integral aspect of Jazz, it is in no way limited only to this musical category. From Bach to Mozart, Beethoven and even Tchaikovsky employed it as a stylistic feature in their pieces.
In conclusion, one can see the shared characteristics of the two musical styles. Yet I find myself pressing again the reasoning for this paper, for I must submit that I am in no way declaring that Classical music equates Jazz. The two musical categories are different in numerous ways, but one must wonder does this difference justify the mistreatment of Jazz. Throughout history great innovations have been created not thought the passive means, but through the torrent fires of dissent. Classical music has born the scars of numerous dissenting musicians, all of who now stands as pinnacles of their craft. Yet now we have arrived at a time in which this reverent originality has become cause for scorn, and it is this debasement that I am addressing.
By showing the similarities of the two genres, I had hoped in quenching this distaste for Jazz. This musical elitism that is being perpetuated can lead only to a disastrous finale for all who engage in it. Duke Ellington has it right when he stated, There are only two types of music, good music and the rest. 18
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Research essay sample on The Similarities Between Classical Music And Ellington Jazz
