Abstract: The third stream and the progressive jazz have a special place in the modern orchestral jazz. The article considers the album “Real Enemies” by an American musician James Argue. His are in the top of ideas of the contemporary experimental jazz. One of the peculiarities of Argue’s work, which makes it stand out from similar works of the earlier period, is the closeness of this composer’s ideas to Postmodernist practices. The authors consider some Postmodernist aspects typical for the contemporary jazz. Argue himself is considered as a jazz artist inclined to excessive intellectual component, who prioritizes orchestrations, relatively complex by jazz standards, and exquisite work consisting in jazz stylistics rethinking via mixing the instruments of jazz expression with various techniques of academic music of the 20th century. The authors give special attention to a detailed musicological analysis of the key compositions of the Secret Society’s Real Enemies.
 

Abstract: The main task of the article is to detect those styles of modern jazz which are esthetically reduced and inclined to contingence with idealistic layers of pop-music. Among the most prominent phenomena of this kind the author considers smooth jazz, the variety of jazz music formed in the 1970s-1980s. The article uses the historical approach to generalize particular persons representing this disputable phenomenon of musical culture. Special attention is given to the problem of penetration and integration of ideas from “high” jazz music (J. Coltrane) into the sphere of simplified musical discourses. Under the influence of complex sociocultural processes, Smooth jazz has simplified the range of complex idealistic principles formed in the world of creative jazz performers. Smooth jazz has become one of numerous life forms whose appearance should be explained not by esthetics or artistic necessity, but primarily by aggressive economic principles of music industry.
 

Abstract: The main task of the article is to detect those styles of modern jazz which are esthetically reduced and inclined to contingence with idealistic layers of pop-music. Among the most prominent phenomena of this kind the author considers smooth jazz, the variety of jazz music formed in the 1970s-1980s. The article uses the historical approach to generalize particular persons representing this disputable phenomenon of musical culture. Special attention is given to the problem of penetration and integration of ideas from “high” jazz music (J. Coltrane) into the sphere of simplified musical discourses. Under the influence of complex sociocultural processes, Smooth jazz has simplified the range of complex idealistic principles formed in the world of creative jazz performers. Smooth jazz has become one of numerous life forms whose appearance should be explained not by esthetics or artistic necessity, but primarily by aggressive economic principles of music industry.
 

Abstract: The article deals with the corpus of problems related to the processes of commercialization of jazz musical art. The formation of artistic features of jazz in a complex way is interconnected with a number of industrial processes that have unfolded in the sphere of the music business. The activity of record labels of jazz orientation was often dictated not by artistic, but purely market interests. At the same time, the simplification of the language, stylistics and thinking of individual jazz musicians is not inherent in all jazz culture immanently, but should be analyzed from the standpoint of the intervention of market algorithms in the space of artistic processes. By examining the historical realities of a number of large Western labels, as well as the physical formats of the distribution of audio media, a special destructive influence exerted by the transnational sound recording business on the ideological layer of jazz art is revealed. As a means of overcoming the problems arising from the publication and popularization of outstanding samples of jazz open to a bold artistic search, it is proposed to pay more attention to the prospects for the development of digital services and streaming systems. With their help, independent labels will again have the opportunity to reach the interested audience, as well as to gain new listeners.

Abstract: The article deals with the corpus of problems related to the processes of commercialization of jazz musical art. The formation of artistic features of jazz in a complex way is interconnected with a number of industrial processes that have unfolded in the sphere of the music business. The activity of record labels of jazz orientation was often dictated not by artistic, but purely market interests. At the same time, the simplification of the language, stylistics and thinking of individual jazz musicians is not inherent in all jazz culture immanently, but should be analyzed from the standpoint of the intervention of market algorithms in the space of artistic processes. By examining the historical realities of a number of large Western labels, as well as the physical formats of the distribution of audio media, a special destructive influence exerted by the transnational sound recording business on the ideological layer of jazz art is revealed. As a means of overcoming the problems arising from the publication and popularization of outstanding samples of jazz open to a bold artistic search, it is proposed to pay more attention to the prospects for the development of digital services and streaming systems. With their help, independent labels will again have the opportunity to reach the interested audience, as well as to gain new listeners.

Abstract: The article deals with musical opuses created in the conditions of synthesis of jazz and academic idioms. The authors analyze the positions of domestic and foreign researchers connected with the definition of style attributes of two unorthodox directions of contemporary music art — the Third Stream and the Progressive.  A number of researchers uphold the positions, according to which the Third Stream is an independent artistic phenomenon. The development of its aesthetic features is associated with the emergence of a new type of composers whose professional skills are closely connected with both ideological bases of academic music and the artistic palette of jazz music. In numerous studies devoted to jazz culture, the style definitions of the Progressive and the Third Stream are in a state of mutual competition. Depending on the context used by the researcher, the phenomena can intersect, displace or replace each other. Ethnic elements were included in the integration process in the course of further development of the ideas of the Third Stream, by reference to artistic practice. The artistic peculiarities of the Third Stream and the Progressive were analysed by some researchers through the prism of more general musical issues, so that the boundaries of these phenomena are constantly shifting. In opposition to the dominant paradigm there are musicologists who strongly criticize the idea of mixing different levels of artistic layers, levelling the deep differences of the synthesized musical cultures. In the current situation, there is a need for an in-depth approach to the specific features of the Progressive and the Third Stream which should be understood as independent phenomena that can be successfully distinguished. 

Abstract: The article deals with musical opuses created in the conditions of synthesis of jazz and academic idioms. The authors analyze the positions of domestic and foreign researchers connected with the definition of style attributes of two unorthodox directions of contemporary music art — the Third Stream and the Progressive.  A number of researchers uphold the positions, according to which the Third Stream is an independent artistic phenomenon. The development of its aesthetic features is associated with the emergence of a new type of composers whose professional skills are closely connected with both ideological bases of academic music and the artistic palette of jazz music. In numerous studies devoted to jazz culture, the style definitions of the Progressive and the Third Stream are in a state of mutual competition. Depending on the context used by the researcher, the phenomena can intersect, displace or replace each other. Ethnic elements were included in the integration process in the course of further development of the ideas of the Third Stream, by reference to artistic practice. The artistic peculiarities of the Third Stream and the Progressive were analysed by some researchers through the prism of more general musical issues, so that the boundaries of these phenomena are constantly shifting. In opposition to the dominant paradigm there are musicologists who strongly criticize the idea of mixing different levels of artistic layers, levelling the deep differences of the synthesized musical cultures. In the current situation, there is a need for an in-depth approach to the specific features of the Progressive and the Third Stream which should be understood as independent phenomena that can be successfully distinguished.