Abstract:
Tonality, which began in Europe, challenges the Second Viennese School of Schöenberg, Webern and Berg, again strongly reinforces the American pop music, while tonal feeling of jazz already with bebop elements (chromaticisms, bitonality, seconds, expansion of forms and structures) were in crisis and it started in the 50s its own way; a path that indicates further new perspectives for the future: moving away from the song form and improvisation based on chords performed by Cecil Taylor, a tendency towards expressive possibilities offered by modality and the nascent interest in multinational elements of ethnic music. A new musical language is coupled with technological innovations; while the radio is added to television and film production and is progressing rapidly as a worldwide phenomenon. Recording on magnetic tapes and LPs birth (ie disc 33 rpm) again extends and modifies creative relationships and the pursuit of confrontation in music. But it is hard-bop stream that Miles Davis intuitively senses and spreads even before pianist Horace Silver, drummer Art Blakey, trumpeter Clifford Brown and others formally directed the use of the typical African-American themes.