![]() ![]() Jazz composer and producer Teo Macero, who went on to produce Miles Davis and Dave Brubeck, was notably influenced by the Third stream movement. Johnson, and Bill Russo were some of the more significant composers attempting to bridge the gap between jazz and classical music." Yanow also suggests that the impact of Third stream music was blunted by the rise of free jazz in the late 1950s, which overtook Third Stream as the leading development in jazz. Igor Stravinsky drew upon jazz for several compositions, such as "Ragtime", "Piano-rag Rag Music" and "The Ebony Concerto" (the latter composed for jazz clarinetist Woody Herman and his orchestra in 1945).Īnother important jazz-classical fusion was Shaw's "Interlude in B-flat," recorded in 1935 with the most unusual ensemble of a string quartet, a jazz rhythm section, and Shaw on clarinet.ĭespite the early examples noted above, critic Scott Yanow writes, "it was not until the mid-to-late '50s that more serious experiments began to take place. Some works by French composer Darius Milhaud were influenced by jazz. Some Ragtime music drew upon classical music, and symphonic pieces such as George Gershwin's 1924 " Rhapsody In Blue" blended jazz and symphonic music. Third Stream is notably separate from the "symphonic jazz" movement of the 1920s in that it involves improvisation. Though few of these examples might be strictly classified as Third Stream, they do demonstrate that there was widespread mutual interest and appreciation from both the jazz and classical traditions. There were very early attempts to integrate jazz and classical music in the early 1900s. Schuller suggested that a similar fusion was made by Béla Bartók, who earned great acclaim after incorporating elements of Hungarian folk music into his music, which had earlier been heavily influenced by Claude Debussy and Richard Strauss. *It is not designed to do away with jazz or classical music it is just another option amongst many for today’s creative musicians. *It is not a fugue played by jazz players. *It is not inserting a bit of Ravel or Schoenberg between be-bop changes-nor the reverse. *It is not classical music played by jazz players. *It is not jazz played on 'classical' instruments. In 1981, Schuller offered a list of "What Third Stream is not": ![]() (Schuller, 1986) Others reject such notions, and consider Third Stream an interesting musical development. Schuller noted that while purists on both sides of Third Stream objected to tainting their favorite music with the other, more strenuous objections were typically made by jazz musicians who felt such efforts were "an assault on their traditions." Schuller writes that "by designating the music as a 'separate, Third Stream', the other two mainstreams could go about their way unaffected by the attempts at fusion." (Schuller, 115) Because Third Stream draws on classical as much as jazz, it is generally required that composers and performers be proficient in both genres.Ĭritics have argued that Third Stream-by drawing on two very different styles-dilutes the power of each in combining them. In 1961, Schuller defined Third Stream as "a new genre of music located about halfway between jazz and classical music." (Schuller, 114) Schuller insisted that "by definition there is no such thing as 'Third Stream Jazz.'" (Schuller, 120) Improvisation - a key element of jazz, but far less common in classical music - is generally seen as a vital component of Third Stream. Third stream is a term coined in 1957 by composer Gunther Schuller to describe a musical genre which is a synthesis of classical music and jazz. ![]()
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