注释,注释: Предметом исследования является творчество лидеров московской джазовой школы 1950-1960-х гг.: эстрадного оркестра при Мосэстраде под управлением Э. Рознера, джаз-оркестра ЦДРИ Ю. Саульского, Эстрадного оркестра под управлением О. Лундстрема. В статье обобщены результаты исследования отечественного джазового искусства 1950-1960-х гг., обоснована тенденция развития инструментального джаза, дана характеристика репертуарной политики московских джазовых коллективов. Обоснована гипотеза влияния на развитие отечественного джазового искусства 1950-1960-х гг. тех новаций, которые были сформированы в американском и европейском джазе 1940-1950-х гг. Дана характеристика исполнительских стилей ведущих столичных солистов и коллективов, определена их роль в развитии московской джазовой школы. Научная новизна заключается в проведении анализа исполнительских стилей ведущих московских джазовых солистов и ансамблей 1970-1980-х гг., что позволило обосновать гипотезу о влиянии на отечественное джазовое искусство тенденций, сформировавшихся в американском и европейском джазе 1940-1950-х гг. В их основе – принцип доминирования небольших по составу участников коллективов, стремление к совершенствованию технических и выразительных возможностей всех инструментов ансамбля, на основе использования художественного потенциала солирующих партий. Особенностью московских джазовых коллективов, выступавших наряду с ленинградскими и прибалтийскими ансамблями флагманами отечественного джазового искусства 1970-1980-х гг., стало усиление экспериментальной направленности в сфере расширения тембровой палитры ансамблевого звучания при помощи использования электронных инструментов и приемов сонористики. Тенденция выдвижения темброво-колористического аспекта музыкального звучания на передовую творческих исканий сближает сферу джазового и академического искусства второй половины XX в.

Abstract: The subject of the study is the creativity of the leaders of the Moscow jazz school of the 1950s and 1960s: the variety orchestra at the Moscow State Orchestra under the direction of E. Rosner, the jazz orchestra of the Central Chamber of Artists Yu. The Saul Variety Orchestra conducted by O. Lundstrom. The article summarizes the results of the study of the domestic jazz art of the 1950s and 1960s, substantiates the trend in the development of instrumental jazz, and characterizes the repertoire policy of Moscow jazz ensembles. The hypothesis of the influence on the development of the national jazz art of the 1950s and 1960s of those innovations that were formed in American and European jazz of the 1940s and 1950s is substantiated. The characteristics of the performing styles of the leading metropolitan soloists and collectives are given, their role in the development of the Moscow jazz school is determined. The scientific novelty lies in the analysis of the performing styles of the leading Moscow jazz soloists and ensembles of the 1970s and 1980s, which allowed us to substantiate the hypothesis of the influence on the domestic jazz art of trends formed in American and European jazz of the 1940s and 1950s. They are based on the principle of dominance of small groups of participants, the desire to improve technical and expressive capabilities all instruments of the ensemble, based on the use of the artistic potential of the solo parts. The peculiarity of the Moscow jazz ensembles, which along with Leningrad and Baltic ensembles were the flagships of the national jazz art of the 1970s and 1980s, was the strengthening of experimental orientation in the field of expanding the timbre palette of ensemble sound through the use of electronic instruments and sonoristics techniques. The tendency of advancing the timbre-coloristic aspect of musical sound to the forefront of creative searches brings the sphere of jazz and academic art of the second half of the XX century closer.

注释,注释: The subject of the research is the work of jazz pianist and composer Nikolai Yakovlevich Levinovsky, the creator and leader of one of the most popular jazz ensembles in the 1980s, "Allegro", a representative of Russian jazz. His performing and composing activities during the 1970s and 1980s are considered in the socio-cultural context that determines the transformation of ideological and cultural norms. The author evaluates the activity of the Philharmonic chamber jazz ensemble "Allegro" by N. Y. Levinovsky as an important factor in activating the process of institutionalization of jazz in the Soviet cultural space. The evolution of N. Levinovsky's compositional thinking, which turned in the 1980s to experiments contributing to the formation of the autoimage of Soviet jazz, is considered. The author reveals the peculiarity of N. Ya. Levinovsky's compositional thinking, the stylistic relief of whose compositions was formed by a system of interpenetration of jazz music techniques and lado-intonation structures of national cultures. Based on the analysis of concert performances and studio recordings of the Allegro jazz ensemble, the specificity of the ensemble sound is revealed, the novelty of N. Y. Levinovsky's approach to the embodiment of the stylistics of swing or jazz-rock compositions is determined. The conclusion is made that N.Y. Levinovsky's compositional work is planned to bring jazz music techniques closer to national musical traditions, which contributes to the further development of jazz art, the expansion of the geography of its popularization and productive assimilation.