Third Stream
Third Stream Music is a term coined in 1957 by Gunther Schuller referring to the synthesis of classical music and jazz. The style is notably separate from the symphonic jazz movement of the 1920s in that it involves improvisation. 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)
Related Topics:
1957 - Gunther Schuller - Classical music - Jazz - Symphonic jazz - 1920s - Improvisation
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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 is involved in classical as much as jazz it is generally required that composers and performers be proficient in both genres.
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Some critics have argued that Third Stream--by drawing on two very different styles--dilutes the power of each in combining them. Others reject such notions, and consider Third Stream an interesting musical development.
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Schuller suggested that a similar fusion was made by Bela Bartok, 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.
Related Topics:
Bela Bartok - Hungarian - Folk music - Claude Debussy - Richard Strauss
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In 1981, Schuller offered a list of ?What Third Stream is not:
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- 1. It is not jazz with strings.
- 2. It is not jazz played on 'classical' instruments.
- 3. It is not classical music played by jazz players.
- 4. It is not inserting a bit of Ravel or Schoenberg between be-bop changes--nor the reverse.
- 5. It is not jazz in fugal form.
- 6. It is not a fugue played by jazz players.
- 7 It is not designed to do away with jazz or classical music; it is just another option amongst many for today?s creative musicians.? (Schuller, 120)
Though there were very early attempts to integrate jazz and classical music--including, arguably, much of Classic Ragtime and Harlem Ragtime, and such as George Gershwin's 1924 Rhapsody In Blue, or some of bandleader Duke Ellington's most ambitious work; some of stride pianist James P. Johnson's pieces; some works by Darius Milhaud (and also by his onetime student, pianist Dave Brubeck); a few of Igor Stravinsky's compositions, including "Ragtime", "Piano-rag Rag Music" and "The Ebony Concerto," the latter commissioned by jazz clarinetist Artie Shaw in 1947; ). Another 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. Other notable composers in the style are John Lewis and his Modern Jazz Quartet, Gunther Schuller, Gil Evans, David Baker, and William Russo, George Russell, Dave Brubeck and members of his Octet and Quartets (and his brother, Howard Brubeck), Toshiko Akiyoshi, David Amram, Ran Blake, Gunther Schuller, Gil Evans, and David Baker. Many free jazz composer/performers, such as Cecil Taylor, Anthony Braxton, the band Oregon (free jazz band), and Sun Ra, were also influenced by the Third Stream school.
Related Topics:
Ragtime - George Gershwin - 1924 - Rhapsody In Blue - Duke Ellington - James P. Johnson - Darius Milhaud - Dave Brubeck - Igor Stravinsky - Artie Shaw - 1935 - Clarinet - John Lewis - Modern Jazz Quartet - Gunther Schuller - Gil Evans - David Baker - William Russo - George Russell - Howard Brubeck - Toshiko Akiyoshi - David Amram - Ran Blake - Free jazz - Cecil Taylor - Anthony Braxton - Oregon (free jazz band) - Sun Ra
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However, Third Stream proper was most popular in the late 1950's and early 1960's, though it has exerted an influence to the present.
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