The Dayton forum. [volume] (Dayton, Ohio) 1913-1949, 1938-02-04
WHAT DO
YOU THINK
ABOUT JAZZ"
Nv WALTER r. ANDERSON
Assistant Professor of Music,
Wiiberfpr d. U,aiver.ity

Tbs Negro -Joarnal Of Re-
hgion, pub ished AT Wi.lerforee,
Ohio, carries the following
sicie in this month's issue:.-
Often have been asked the auea
ton: What do you think about
Jazz. Ny answer is usually this:
Jazz is quite all right in It's proper
place" Generally people either sly
that they like jazz music and don't
like serious music or vice versa. Most
of the time | don't believe them. 1t
is indeed possible TO like botii types.
Each is suitable for different pur-
pose, and both The iazz enthusiast
and the stereotypcd student Of seri-
Gus music are at fault
First, let me say something good
about Jazz. In its primitive stages,
music was not free art. Music was
used to accompany the dance or give
life to religious ceremonies and Sec
ular festivals. Certain types of mu-
sic, that developed in connection
with secular activities, were barred
from use in. religious worship. FIR
instance, in the early Christian.
Church it was q rule to write all
music in triple measure because the
three pulses Of the measure repre-
sented the Holy Trinity. Tie CHRIS
tians thought that music written IN
other rhythms had evil effect on their
morals. The whole development Of
music has been a struggle to free
musical thought from the clutches
of certain conventions whicn stunt
the growth and expan.c u musical
ldiom. With the freeing OF music as
art, it became possible for the COM
poser to express himself naturally;
and out of this freedom came the
rise of instrumental music which has
reached great height today. Be-
fore the 18th century, song-Writing
was stilted; not attention was ever
given to the words Of song. Early
in the 18th century, Schubert at
tempted setting tune TO verse
rather than fitting the verse to mu-
sic. From this time on Song
rapidly developed, and from the
years Immediately following we have
some of our best art-songs. Then
followed the period of rise in instru-
mental music which directly preced-
ed our own generation. Today there
is a decided break from classical
rules of composition.
In jazz composition there is little.
il any adherence to the rules of
harmony that have come from stand
ards set by recognized and famous
composers. The performer is free
TO change the harmony, melody, or
rhythm of composition whenever
he wishes to do SO. On the score
the same terms are not used to i'm
dicate expression. / well remember
the time when / sat at the piano TO
play with nm orchestra for . dance.
came to certain chorus before
which were written the words "tear
outl' i guessed that | was supposed
to omit that chorus, but was en-
tirely wrong. The words "tear OUT
meant for me to break loose on the
piano and TO fake my own har-
mony and melody for thirty-two
measures. To-day one often sees the
word swing written in jazz com
position, suppose that we all know
the meaning of that word. So with
this freedom, the performer has the
privilege of letting outside influences
direct his performance, This idea is
brought out very clearly in the words
of some Of the current jazz "hits. !
lin the song, 4sYou Can't Take Tint
Away from Me-" there are the words:
"The way you wear your hat, the
way you sip your tea, the memsry OF
alI sthat--oh, no, you can't take that
away from me-" The suggestion Of
these words from time to time may
take new effect on the performer,
who, from time to time, may change
the color or the flavor Of his chords
10 suit his feelings OF the moment;
OF, still more effective is the spirit Of
the people who ere dancing. Often
through some communication from
&hs hody-movement OF the couples