CURRENT WAYS OF MELODICAL IMPROVISATION, REVOLUTIONARY JAZZ THINKING IN THE XXI ST CENTURY

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dc.coverageSTUDIA UBB MUSICA, Volume 70 (LXX), Special Issue 1, July 2025, pp. 141-167, DOI: 10.24193/subbmusica.2025.spiss1.08en-US
dc.creatorBĂLAN, Florin
dc.date2025-07-15
dc.date.accessioned2026-02-21T20:20:42Z
dc.descriptionThe assimilation of different musical practices, idioms or aesthetics is an expression that explains in detail the origins of some of the fusions of the significant creators of the jazz phenomenon, an active pursuit whose purpose is to create new, musically innovative, hybridized styles. It represents the modern view, a term for which researchers will suggest that it is a suitable description for the evolutionary compositional technique of certain artists adept at experimental practices of fusion of elements, the preferential ability to combine the structure of standard themes in a modern, original manner that takes on new forms, contrary to the traditional ways of tonal jazz. Musicians of the contemporary style articulate stylistically through unequal and variable musical combinations, which do not completely replace the previously known genre terms (jazz, rock, funk), but allow the emergence of other creative styles, which evolve, delight and continuously challenge the characteristics of the preceding categories. Modernism emphasizes the instability of all gender designations and highlights the creative fluidity, the structure of musical practices that gender names try to immortalize to give discussions about jazz, music in general a significant new starting point. Issuing the title of a musical genre (modernism) is a way of recognizing its existence and being able to distinguish it from other musical genres or styles. This (name) becomes a point of reference and easily allows the constitution of certain forms of interactive musical communication, control and specialization in the field, elaboration of templates, discussions, essentially a new evolutionary step.en-US
dc.formatapplication/pdf
dc.identifierhttps://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/9408
dc.identifier10.24193/subbmusica.2025.spiss1.08
dc.identifier.urihttps://hdl.handle.net/20.500.14637/2412
dc.languageeng
dc.publisherBabeș-Bolyai University / Cluj University Pressen-US
dc.relationhttps://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/9408/9091
dc.rightsCopyright (c) 2025 Studia Universitatis Babeş-Bolyai Musicaen-US
dc.rightshttps://creativecommons.org/licenses/by-nc-nd/4.0en-US
dc.sourceStudia Universitatis Babes-Bolyai Musica; Volume 70, Special Issue 1, July 2025; 141-167en-US
dc.source2065-9628
dc.source1844-4369
dc.source10.24193/subbmusica.2025.spiss1
dc.subjectjazzen-US
dc.subjectimprovisational thinkingen-US
dc.subjectinstrumental techniqueen-US
dc.subjectstylistic skillsen-US
dc.subjectcontemporary harmonic structuresen-US
dc.subjectelements “inheritance”en-US
dc.subjectresulting elementsen-US
dc.titleCURRENT WAYS OF MELODICAL IMPROVISATION, REVOLUTIONARY JAZZ THINKING IN THE XXI ST CENTURYen-US
dc.typeinfo:eu-repo/semantics/article
dc.typeinfo:eu-repo/semantics/publishedVersion
dc.typePeer-reviewed Articleen-US
dc.typetexten-US

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