FORMATION OF THE TERM “POSTBOP” IN THE SYSTEM OF MODERN JAZZ PERFORMANCE
DOI:
https://doi.org/10.32782/art/2024.1.25Keywords:
jazz, jazz art, modern jazz, mainstream jazz, bebop, hardbop, postbopAbstract
Various studies devoted to the art of jazz and communication processes between listeners, musicians and critics who are involved in the discussion of jazz performance actualize the need to justify a new term denoting structurally complex and supplemented with new concepts of bebop. Three main periods are traditionally distinguished in the process of bebop development. The first was associated with the “classic” bebop of the 40’s and early 50’s of the 20’st century, which is most thoroughly covered in various sources. The second period was actualized due to the appearance of a new wave of musicians in the 50’s of the 20’st century who asserted the hardbop style. The third period of bebop, which began in the 60’s of the last century and then continued its development already in the 21’st century, integrated many techniques that have not yet become widespread. It is to this period that the smallest amount of scientific works is devoted. The article substantiates that the indicated new varieties of bebop have not found a musicological understanding and interpretation among scientists and jazz journalists for a long time. Traditionally, in the professional musical environment, modern forms of jazz discourses were characterized by general and insufficiently specific formulations. Jazz journalists used the term “postbop”, giving it not musicological, but more everyday meanings. The shift in the theoretical understanding of postbop was facilitated by the scientific works of the academic musicologist Jeremy Yudkin, who proposed to consider the creative works of the second quintet of Miles Davis in the period 1965–1968 as the initial stage of the formation of postbop. J. Yudkin’s view was critically evaluated in jazz studies, but later it was accepted by many specialists, thanks to which the term “postbop”, which is now understood as a stylistic definition, appears more and more often in modern research and popular science sources devoted to jazz.
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