Abstract: The article is devoted to the analysis of the importance of sound recording in the context of jazz music and its ontology. The object of the study is sound recording in jazz, and the subject of the study is its impact on the preservation of the cultural heritage of jazz, the formation of historical memory and the impact on the development and perception of jazz music. Within the framework of this study, the functions and types of sound recordings are analyzed, their significance as documents recording musical performances and as independent works of art. The article examines the impact of technological changes in sound recording on the artistic aspects of performance, as well as their role in stimulating innovation and transformation in jazz culture. Special attention is paid to how sound recording forms the ontological aspects of jazz, providing mediation between the performer and the listener and conveying emotional and cultural contexts. The research methodology includes an analysis of various functions and types of sound recordings, as well as an assessment of their impact on jazz culture through a systematic approach. The main results show that changes in recording technologies significantly modify the artistic aspects of performance, contributing to innovation and transformation in jazz culture. The findings of the study emphasize that sound recordings perform key functions in the ontology of jazz, acting as mediators between the performer and the listener, ensuring the transmission of emotional and cultural contexts. They are an important tool for analyzing and preserving musical heritage, contributing to an in-depth understanding of jazz as a dynamic cultural phenomenon. Jazz music continues to evolve through the interaction of performers and the audience, as well as through technological and creative experiments, which emphasizes the importance of sound recordings in this process. The findings of the study emphasize their critical role in supporting and preserving jazz culture in the context of its constant evolution.

Abstract: The subject of this article's research is the importance of sound recordings as an evolutionary source in the historiography of jazz. The importance of sound recording in the evolution and the study of jazz cannot be overestimated. It is much more significant than in the case of any other kind of music art. Sound recording is of great scientific value and jazz heritage's leading resource, which is an opinion held by most jazz researchers. The development of jazzology has led to scientific viewpoints that raise questions about the reevaluation of the role of sound recording. The research method used is the analysis of various scientific views on this problem, which helps readers understand the specificity of jazz sound recording. The author considers the opinions of researchers G. Schuller, J. Rasula, E. Clarke, M. Butterfield, and A. Batashev. This list of names shows that there’s only one Russian researcher who is studying this problem. The scientific novelty of this research lies in the author’s exploration of a relatively unexplored topic. The research has revealed the presence of contradictory scientific views that should be further studied.  

Abstract: Jazz was the first type of music where the earliest stage of its development was recorded. A single performance recorded in 1917 by the New Orleans quintet, the Original Dixieland “Jass” Band, is known as the first jazz record in history. In the academic community, there’s the perception that the musical content featured on this record cannot be viewed as a typical representative of jazz music from that period. The music was performed by white musicians, though most first jazz bands were black, and the music was far from a genuine solo improvisation. However, the very act of recording the music made it atypical to begin with. The subject of this article is the influence of sound recording technology on jazz culture at this stage of its foundation.

At that time, jazz musicians had to consider various technical peculiarities of sound recording technology if they wished to create a recording. The author pays special attention to analyzing the consequences of the reproducibility of these recordings for jazz musicians and the audience’s perception. In this article, the author uses a comprehensive methodology that involves analyzing historical sources and memoirs of jazz musicians related to the sound recording industry. The research proves that audio recordings are insufficient as a source to critically research the first jazz gramophone record and suggests alternative approaches to its interpretation.
In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation. 
 

Abstract: Jazz was the first type of music where the earliest stage of its development was recorded. A single performance recorded in 1917 by the New Orleans quintet, the Original Dixieland “Jass” Band, is known as the first jazz record in history. In the academic community, there’s the perception that the musical content featured on this record cannot be viewed as a typical representative of jazz music from that period. The music was performed by white musicians, though most first jazz bands were black, and the music was far from a genuine solo improvisation. However, the very act of recording the music made it atypical to begin with. The subject of this article is the influence of sound recording technology on jazz culture at this stage of its foundation.

At that time, jazz musicians had to consider various technical peculiarities of sound recording technology if they wished to create a recording. The author pays special attention to analyzing the consequences of the reproducibility of these recordings for jazz musicians and the audience’s perception. In this article, the author uses a comprehensive methodology that involves analyzing historical sources and memoirs of jazz musicians related to the sound recording industry. The research proves that audio recordings are insufficient as a source to critically research the first jazz gramophone record and suggests alternative approaches to its interpretation.
In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation. 
 

Abstract: The subject of this article's research is the importance of sound recordings as an evolutionary source in the historiography of jazz. The importance of sound recording in the evolution and the study of jazz cannot be overestimated. It is much more significant than in the case of any other kind of music art. Sound recording is of great scientific value and jazz heritage's leading resource, which is an opinion held by most jazz researchers. The development of jazzology has led to scientific viewpoints that raise questions about the reevaluation of the role of sound recording. The research method used is the analysis of various scientific views on this problem, which helps readers understand the specificity of jazz sound recording. The author considers the opinions of researchers G. Schuller, J. Rasula, E. Clarke, M. Butterfield, and A. Batashev. This list of names shows that there’s only one Russian researcher who is studying this problem. The scientific novelty of this research lies in the author’s exploration of a relatively unexplored topic. The research has revealed the presence of contradictory scientific views that should be further studied.