Jazz and Brazilian elements in the suite "Scaramouche" op. 165b by Darius Milhaud
Journal Title: Notes Muzyczny - Year 2015, Vol 1, Issue 3
Abstract
The article consists of a few sections. In the introduction the author presents the biography of Darius Mihaud with particular focus on jazz references. In the further part of the article he characterises the style of the composer and lists his compositions recognised as piano chamber works. He describes the background of the piece and pays attention to its enormous popularity. The key element of the article is the analysis in which, in the light of the performance art, the author specifies and discusses the most important jazz and Brazilian elements of the suite Scaramouche op. 165b by Darius Milhaud. The typical Brazilian popular music and jazz share very similar roots – they are the mixture of African and European traditions on the American continent. In the three movements of the piece: first – Vif, second – Modéré and third – Brazileira the author has found elements such as: rhythm changes progression; parallelism of melodic and chord structures; polytonality in consonances and linear structures; rhythmic structures together with danceability of Ernst Nazareth; syncopes; call and response formula; rhythmic ostinato; complementary rhythm; exposing weak parts of a bar; accents in the phrase endings; enhancing rhythmic effect through frequent usage of sound repetitions and constructing melody after a pause; imitating the percussion effect; shifting natural accents in a bar by grouping regular rhythmic values in an even metre into odd motives or rhythmic patterns following each other; simultaneous presentation of music themes; pentatonic structures in the melic form; rhythmic figure evoking swinging: dotted quaver and semiquaver; rhythmic plan characteristic of Latin American music: dotted quaver, dotted quaver and quaver; impetuous mood (first movement); atmosphere full of melancholy referring to the aura of vocal blues, i.e., sadness and inner crying (second movement); piercing, under skin, infectious rhythms, charming melodies, verve and motoric features (third movement). The interpretative views of the author of the article reach to the roots of the genre together with its inspirations, showing the path of truth in the art of performance.<br/><br/>
Authors and Affiliations
Radosław Stefański
Keywords
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