Traditions and Innovation in the Performance Practice of Jazz Violinists of the Turn of the 20th and 21st Centuries Joe Venutti and David Goloshchekin
Abstract
The 20th century was characterized by the emergence of many musical styles, among which jazz
turned out to be the most resilient and resistant to the changes of cultural paradigms. Throughout the
century jazz had retained its inherent system of expressive means and, at the same time, revealed
the ability to integrate itself with other musical styles. The uniqueness of jazz lies not only in the
fact that it is an integral part of the art of music and is not limited to specific musical vocabulary
(melody, harmony, rhythm, or texture), but also that it includes many characteristic extra-musical
qualities (visual, communicative, artistic behavior of musicians on stage, etc.). The performance
practice of jazz violinists of the turn of the 20th and the 21st centuries (Joe Venuti and David
Goloshchekin) has been conducive to appreciation of the violin as a full-fledged instrument in
jazz ensembles on a par with the traditional jazz instruments, such as the saxophone, the trumpet,
the flugelhorn, etc. The artistic activities of the musicians contributed both to the expansion of the
traditional framework of jazz performance and to the enrichment of the violin art with innovative
nuanced and timbre-related techniques of playing.
Keywords: jazz violin performance, Joe Venuti, David Goloshchekin.
Full Text:
PDF (Russian)References
Balin A. P. Traditsii orkestra dukhovykh instrumentov v evolyutsii dzhaz-benda: avtoref. dis. ... kand. iskusstvovedeniya [Traditions of the Wind Orchestra in the Evolution of the Jazz Band: Thesis of Dissertation for the Degree of Candidate of Arts]. Rostov-na-Donu, 2009. 24 p.
Begovatova M. A. Sovremennoe ispolnitel'stvo na saksofone v aspekte rasshireniya zvukovykh vozmozhnostey instrumenta: avtoref. dis. ... kand. iskusstvovedeniya [Contemporary Performance on the Saxophone in Terms of Expanding the Instrument’s Sound Capabilities: Thesis of Dissertation for the Degree of Candidate of Arts]. Kazan, 2012. 26 p.
Belova M. V. Skripichnoe dzhazovoe ispolnitel'stvo kak yavlenie sovremennoy muzykal'noy kul'tury [Violin Jazz Performance as a Phenomenon of Contemporary Musical Culture]. Vestnik Chelyabinskoy gosudarstvennoy akademii kul'tury i iskusstv [Gazette of the Chelyabinsk State Academy of Culture and the Arts]. 2006. Vol. 2 (10), pp. 101–105.
Goloshchekin D. Interv'yu «Sving Beloy nochi» [Interview of the “White Night Swing”]. Fontanka [Fontanka]. URL: http://www.fontanka. ru/2001/06/29/64366/ (15.12.2018).
Zaytseva M. L. Specifika ponimaniya kategorii vremeni i ee vzaimosvyazi s ideyami sinestezii [The Specificity of Understanding the Category of Time and Its Relationship with the Ideas of Synesthesia]. Vestnik Moskovskogo gosudarstvennogo universiteta kul'tury i iskusstv [Gazette of Moscow State University of Culture and Arts]. 2010. Issue 5 (37), pp. 27–33.
Zaytseva M. L., Budagyan R. R. Dzhaz i sovremennoe skripichnoe iskusstvo [Jazz and the Contemporary Art of Violin Performance]. Istoricheskie, filosofskie, politicheskie i yuridicheskie nauki, kul'turologiya i iskusstvovedenie. Voprosy teorii i praktiki [Historical, Philosophical, Political and Legal Disciplines, Cultural Studies and Art History. Theory and Practice]. 2017. No. 12 (86). In 5 parts. Part 4, pp. 71–75.
Zaytseva M. L., Budagyan R. R. Dzho Venuti i ego znachenie v razvitii dzhazovogo iskusstva XX veka [Joe Venuti and his Importance in the Development of the 20th Century Art of Jazz]. Colloquium-journal. 2019. No. 5 (29), pp. 16–18.
Zaytseva M. L., Budagyan R. R. Sintez akademicheskikh i neakademicheskikh traditsiy ispolnitel'stva v sovremennom skripichnom iskusstve [The Synthesis of Academic and Non-academic Traditions of Performing in the Contemporary Art of Violin Performance]. Muzyka i vremya [Music and Time]. 2019. No. 2, pp. 21–25.
Kazanskaya T. N. Traditsionnoe iskusstvo russkikh narodnykh skripachey: avtoref. dis. ... kand. iskusstvovedeniya [The Traditional Art of Russian Folk Violinists: Thesis of Dissertation for the Degree of Candidate of Arts]. Leningrad, 1991. 31 p.
Livshits D. R. Fenomen improvizatsii v dzhaze: avtoref. dis. ... kand. iskusstvovedeniya [The Phenomenon of Jazz Improvisation: Thesis of Dissertation for the Degree of Candidate of Arts]. Nizhny Novgorod, 2003. 26 p.
Lototskaya O. Sem' samykh izvestnyh dzhazovykh muzykantov [Seven of the Most Famous Jazz Musicians]. URL: http://music-education.ru/7-samyh-izvestnyh-dzhazovyh-muzykantov/ (01.03.2017).
Meshkova A. S. Between Composition and Improvisation: About the Form of Existence of Music at the Intersection of Cultural Traditions. Problemy muzykal'noj nauki / Music Scholarship. 2018. No. 2, pp. 32–39. (In Russ.) DOI: 10.17674/1997-0854.2018.2.032-039.
Polishchuk N. A. Literaturnyy dzhaz kak narrativnaya i ekspressivnaya strategiya amerikanskoy literatury (na primere tvorchestva Toni Morrison) [Literary Jazz as a Narrative and Expressive Strategy of American Literature (On the Example of Tony Morrison)]. Vestnik Udmurtskogo universiteta [Gazette of the Udmurt University]. 2010. No. 4, pp. 104–110.
Serdyukov A. A. Traditsii improvizatsii v sovremennoy akademicheskoy kul'ture: avtoref. dis. ... kand. iskusstvovedeniya [Traditions of Improvisation in the Contemporary Academic Culture: Thesis of Dissertation for the Degree of Candidate of Arts]. Rostov-on-Don, 2017. 34 p.
Strokova E. V. Dzhaz v kontekste massovogo iskusstva: k probleme klassifikatsii i tipologii iskusstva: avtoref. dis. ... kand. iskusstvovedeniya [Jazz in the Context of Mass Art: Concerning the Issue of Classification and Typology of Art: Thesis of Dissertation for the Degree of Candidate of Arts]. Moscow, 2002. 19 p.
Feyertag V. Genezis populyarnosti: Interv'yu Davida Goloshchekina [The Genesis of Popularity: An Interview with David Goloshchekin]. URL: http://www.cult-and-art.net/music/41697-dzhazovoe_otechestvo (10.10.2017).
DOI: http://dx.doi.org/10.33779/2587-6341.2020.1.122-129
Refbacks
- There are currently no refbacks.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.