JAZZ AS A PART OF THE WORLD ARTISTIC PICTURE

Abstract

The article analyzes and characterizes modern approaches to the study of the formation of jazz as a separate genre of music in the psycho-pedagogical, musicological, methodical literature. The importance of jazz is em- phasized, revealing its syncretic character as a result of the fusion of African and European music. The specificity of jazz is investigated and it is explained precisely why the majority of researchers of this subject-matter operate in their analysis on the basis of certain positions (uniformly-tempered scale, metric and harmonic system, timbre, etc.). It focuses on trying to analyze it using the methods of European music theory and explains why science has not yet developed original instruments that allow a comprehensive approach to many aspects of jazz. It is explained why it is in the context of these scientific studies that jazz is of particular interest, since it is a unique phenomenon capable of combining these tendencies into a single channel. It is indicated why the manifestation of the phenomenon dictates the special conditions for its study, requires the expansion of research methods and the involvement of interference concepts from different fields of knowledge. It is reported that the art of jazz connects history, musicology, psychology, sociology, aesthetics and many other sections of scientific knowledge. It is their consideration that makes it possible to understand many features of jazz from the inside and helps to
comprehend the phenomenon in the wide space of the musical art of the 20th century. The purpose of the article is to study the phenomenon of jazz as an integral part of art history, which is in line with the concept of perspective to understanding the art of the 20th century, identify the essential paradigms of the jazz phenomenon, determine
its status within academic science, enter jazz into the modern typological scheme.