Jazz Musical Environment in Modern Saint Petersburg

   Introduction. Jazz music originated in New Orleans at the beginning of the 20^th century, based on a mixture of European and African musical cultures, and united a number of population groups, including oppressed people. Later, for several decades, it became the basis of mass musical culture. Jazz is still very popular in Russia today. In light of the above, sociological interest is raised by the question of the characteristics of the environment in which performers and listeners of this music interact in modern St. Petersburg, as well as the characteristics of their status, personal attitudes, perception of various meanings with which they associate their (in all meanings) musical world. Jazz is considered as a way of emotional communication, a means of intellectual self-expression, and a special social environment.

   Methodology and sources. The sources used are works on the sociology of everyday life (H. Garfinkel, E. Goffman, A. Fischer, A. Manstead), interpersonal communication (O.I. Matyash, N.V. Kazarinova, etc.), history and description of jazz music (J.L. Collier, A. Rondarev). The methodological framework of the study is the theory of social representations by S. Moscovici and the social constructionist theory of emotions. Expert interviews and questionnaires were used as data collection methods.

   Results and discussion. Based on the results of the expert interview, the following conclusions were drawn: jazz is the music of inner freedom, which is characterized by an improvisational approach to playing; Jazz is characterized by a positive emotional charge, which distinguishes it from other styles and has a connection with mass popularity in the mid-20^th century and leaves its mark on the modern jazz subculture and the people involved in it; Students of the pop-jazz department differ from those performing more modern music by a greater degree of “immersion” in their studies, motivation, and concentration in professional activities. Based on the results of a survey of applicants and students of the St. Petersburg Music College named after. M.P. Mussorgsky authors made conclusions: an artist’s performance can be considered as a process of constructing emotional states; in the perception of a modern jazz performer, the original protest character of this music is lost, but a strong association with internal freedom, which historically accompanied jazz, remains; for most young jazzmen, playing jazz is not just a future profession, but part of their lifestyle and personality, and is also perceived as the main thing in life; The jazz performing community is characterized as close-knit and its members are dedicated professionals.

   Conclusion. Jazz music at the time of its inception was, on the one hand, a means of self-expression, demonstrating one’s difference from others. On the other hand, it acted as a source of formation of close-knit communities of people, and also, due to the positive emotional charge it carries, the ability to withstand not always favorable living conditions, and to find the support of a like-minded person; to be free internally even in the absence of external freedom. Based on the results of our research, it seems that these characteristics have retained their importance for jazz music performers in modern St. Petersburg.

1. Music. The Definitive Visual History (2022), 2^nd ed., Dorling Kindersley Limited DK, London, UK.

2. Rondarev, A. (2021), Grandioznaya istoriya muzyki XX veka [The grandiose history of music of the 20^th century], RIPOL klassik, Moscow, RUS.

3. Garfinkel, H. (1972), “Studies in the Routine Grounds of Everyday Activities”, Studies in Social Interaction, in Sudnow, D. (ed.), The Free Press, NY, USA, pp. 1–30.

4. Goffman, E. (2021), The Presentation of Self in Everyday Life, Transl. by Antonova, E., Piter, SPb., RUS.

5. Fischer, A.H. and Manstead, A.S.R. (2008), “Social functions of emotion”, Handbook of emotion, Lewis, M., Haviland-Jones, J.M. and Barrett, L.F. (eds.), The Guilford Press, NY, USA, pp. 456–468.

6. Mat'yash, O.I., Pogol'sha, V.M., Kazarinova, N.V. et al. (2011), Mezhlichnostnaya kommunikatsiya: teoriya i zhizn' [Interpersonal communication: theory and life], in Mat'yash, O.I. (ed.), Rech', SPb., RUS.

7. Collier, J.L. (2023), The Making of Jazz, Transl. by Leonovich, M., Chugrov, S.V. and Rudkovskaya, M.N., Kabinetnyi uchenyi, Ekaterinburg, RUS.

8. Moscovici, S. (2000), “The phenomenon of social representations”, Social representations: Explorations in social psychology, in Duveen, G. (ed.), New York Univ. Press, NY, USA, pp. 18–77.

9. ““Jazz still has many ill-wishers.” Igor Butman on his club, orchestra, and jazz school in St Petersburg” (2024), Fontanka.ru, 24. 06. 2024, available at: https://www.fontanka.ru/2024/06/26/73744706/ (accessed 01. 07. 2024).