Transformations of Musical Form «12-Bar Blues» in Jazz Music

Abstract

The purpose of the article is to investigate the characteristics of the 12-bar blues within the jazz music. The research methodology is based on the use of methods of analysis (for musicological analysis of jazz standards), comparison (for comparative analysis of the characteristics of blues formation and features of jazz music formation) and generalisation (to formulate research conclusions). The scientific novelty of the study is in highlighting the problem of the relationship between the formative principles of blues and jazz music. Conclusions. The musical form «12-bar blues in jazz music», is an unprecedented quintessence of the form-forming features of blues and jazz music. However, despite all the changes that the standard form “12-bar blues” has undergone in jazz music, in all its forms and with the introduction of any elements, it remains a phenomenon of blues formation in jazz music and requires the use of separate terminology for its definition. Thus, we are faced with the full depth of the above musical form, which has the potential for an infinite number of transformations and the introduction of innovative features, the infinite potential of which, in turn, is inherent in jazz music.
 Key words:jazz music, blues, musical form, 12-bar blues, jazz standard, 12-bar blues in jazz music, 12-bar minor blues, modern 12-bar blues.