From: rstump@itchy.geog.albany.edu (Roger Stump)
Newsgroups: rec.music.bluenote
Subject: Committee on Purity
Date: 30 Sep 92 23:29:57 GMT
Article-I.D.: sarah.1992Sep30.232957.22621
Distribution: na
Organization: Geography and Planning, University at Albany

gidi@Hilbert.Stanford.EDU (Gidi Avrahami) writes:
 >But, when you say "jazz and jazz only", does this mean no more Shakti,
 >Bela Fleck, Steve Reich, Wendy Carlos, Santana, Joni Mitchell?

 >Anxiously waiting for the decision of the Committee On Purity,

I just happened to read the following passage today, and it seemed so 
appropriate that I couldn't resist posting it.  It comes from a short 
story by Josef Skvorecky entitled "Eine Kleine Jazzmuzik."  It is a 
description of the policies established by an SS "Reichsmusikfuhrer" in 
Nazi-occupied Czechoslovakia regarding the playing of jazz (and related 
types of music).

   "1) in the repertoire of light orchestras and dance bands, pieces in
  fox-trot rhythm (so-called swing) are not to exceed 20%;
    2) in the repertoire of this so-called jazz type, preference is to be
  given to compositions in a major key and to lyrics expressing joy in
  life (Kraft durch Freude), rather than Jewishly gloomy lyrics;
    3) as to the tempo, too, preference is to be given to brisk compositions
  as opposed to slow ones (so-called blues); however, the pace must not
  exceed a certain degree of allegro commensurate with the Aryan sense
  for discipline and moderation.  On no account will negroid excesses
  in tempo (so-called hot jazz) be permitted, or in solo performances
  (so-called breaks);
    4) so-called jazz compositions may contain at the most 10% syncopation;
  the remainder must form a natural legato movement devoid of hysterical
  rhythmic reverses characteristic of the music of the barbarian races
  and conducive to dark instincts alien to the German people (so-called
  riffs);
    5) strictly forbidden is the use of instruments alien to the German
  spirit (e.g., so-called cowbells, flex-a-tone, brushes, etc.) as well
  as all mutes which turn the noble sound of wind-brass instruments into
  a Jewish-Freemasonric yell (so-called wa-wa, in hat, etc.);
    6) prohibited are so-called drum breaks longer than half a bar in four
  quarter beat (except in stylized military marches);
    7) the double bass must be played solely with the bow in so-called jazz
  compositions; plucking of strings is prohibited, since it is damaging
  to the instrument and detrimental to Aryan musicality.  If a so-called
  pizzicato effect is absolutely desirable for the character of the
  composition, let strict care be taken lest the string is allowed to 
  patter on the sordine, which is henceforth forbidden;
    8) provocative rising to one's feet during solo performances is
  forbidden;
    9) musicians are likewise forbidden to make vocal improvisations (so-
  called scat); and
    10) all light orchestras and dance bands are advised to restrict the
  use of saxophones of all keys and to substitute for them violon-celli,
  violas, or possibly a suitable folk instrument."

If it weren't Nazis we're talking about here, this might even be funny.  I
have no idea whether such rules were ever stated or imposed, but they
certainly have the ring of truth.  The main theme of the story, by the
way, is the subversive effect of jazz within this totalitarian culture -- 
an interesting aspect of the history of jazz in the one-time "communist" 
countries as well (and perhaps even in the U.S. through the 1950s).  
Does anyone out there know of any work that examines this aspect of jazz 
in detail?
-- 
Roger W. Stump
University at Albany
rstump@itchy.geog.albany.edu