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F. Shak, A. Polishchuk

Third Stream and Issues of Style Typology

The article deals with the problems associated with the style demarking and differentiation of aesthetic features of the third stream. The author analyzes the essence of the language synthesis of a number of works by the composer Gunther Schuller, who became its main theoretician (“Conversation”, “Transformation”, and “Abstraction”). The article contains negative definitions of what, according to Schuller, the third stream is not. It is argued that the third stream embraces compositions traditionally regarded as academic music, implying the fusion of academic and jazz elements to the maximum degree of mutual homogeneity (“Ebony Concerto” I. Stravinsky, “Prelude, Fugue and Riffs” L. Bernstein, “City Of Glass” R. Graettinger, “All Set” by M. Babitt). Questions pertaining to progressive and revealing in it the essential characteristics relating to the third stream (G. Evans, M. Schneider) are discussed. A vivid example of modern experiences with the third stream is the work “R.A.P.”, created by Schuller’s student, jazz pianist, composer, New England Conservatory teacher William McKinley (1938–2015). In a special contradiction with the theoretical plot of Schuller are the performers who conformally interpret the themes of academic music in the jazz vein (J. Loussier). Their works are not infrequently equated with the third stream, which is erroneous, since they do not fit into the aesthetic and style specifics originally claimed by G. Schuller.

Key words

third stream, academic music, language synthesis, jazz tradition, progressive, works by G. Schuller.

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