Polystylism and Stylistic Adaptation in 1970s Jazz-Rock: The Case of Return to Forever's "Duel of the Jester and the Tyrant (Part I & Part II)"
Polystylism and Stylistic Adaptation in 1970s Jazz-Rock: The Case of Return to Forever's "Duel of the Jester and the Tyrant (Part I & Part II)"
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1970年代爵士摇滚中的多风格主义和风格改编：以《回归永远》的《小丑与暴君的决斗》为例（上）
DOI：
10.1080/17494060.2019.1701064
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发表时间：
2019
影响因子：
--
通讯作者：
Williams J
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文献类型：
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作者：
Williams J
本文通过将苏联作曲家阿尔弗雷德·施尼特克（Alfred Schnittke）的“风格适应”（1973）概念（一种特定的互文性）应用到《浪漫战士》（1976）中的“小丑与暴君的决斗（第一部分和第二部分）”来考察奇克·科里亚的爵士乐融合作品。对古典和爵士风格的音乐内部特征的更仔细的研究将显示，来自不同音乐背景和训练的艺术家如何听起来惊人地相似，尽管他们的通用分离（在这种情况下，爵士乐融合和前卫摇滚）。通过这样的分析，我认为，对融合爵士乐的重新评估不仅仅是阿米里·巴拉卡（Amiri Baraka）所说的“美元符号音乐”，这一点很重要，不仅因为它的接受程度如何反映了 20 世纪 70 年代对种族和不断变化的全球经济体系的特定焦虑，而且还表明识别这些流派的声音标记是理解它们的关键组成部分。
This article examines Chick Corea’s jazz fusion composition by applying Soviet composer Alfred Schnittke’s concept of “stylistic adaptation” (1973), a specific type of intertextuality, to Return to Forever’s “Duel of the Jester and Tyrant (Part I and Part II)” fromRomantic Warrior(1976). Closer investigation of intra-musical features from classical and jazz styles will show how artists from different musical backgrounds and training came to sound strikingly similar despite their generic separation (in this case, jazz fusion and progressive rock). Through such an analysis, I argue that a re-evaluation of jazz fusion as not simply what Amiri Baraka called “dollar-sign music” is important, not only for how its reception reflected specific anxieties regarding race and changing global economic systems in the 1970s, but also to demonstrate how identifying the sonic markers of these genres are a key component to understanding them.