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Abstract
Composer and conductor Leonard Bernstein (1918-1990) was a major figure in American music. Bernstein's compositions merged the European classical tradition with American jazz. Many writers have mentioned jazz influence in Bernstein's works, but no systematic study of how jazz influence is present has been undertaken. This dissertation aims to remedy the situation by examining jazz in the context of Bernstein's life, career, compositions, and his position in American music history.
Several types of primary sources were examined, including Bernstein's writings, compositions, recordings, and newspaper articles on various aspects of his career, supplemented by secondary literature.
Chapter I includes a biographical sketch of Bernstein and an overview of the scholarly literature. Chapter II examines writings by Bernstein on the subject of jazz and its contribution to American classical music. Also discussed in this chapter are Bernstein's jazz-related activities such as performance, arranging, and advocacy. Chapter III is concerned with the reception of seven concert works by Bernstein: Sonata for the Piano; Sonata far Clarinet and Piano; Symphony no. 2: "The Age of Anxiety"; Serenade After Plato's 'Symposium'; Prelude, Fugue, and Riffs; Touches; and Halil. This chapter also includes a section on the reception of Bernstein in the community of jazz musicians. Chapter IV analyzes jazz elements in the seven works mentioned above.
Bernstein's writings about jazz demonstrate his conception of jazz style. A preference for the music of the swing era can be clearly seen. Bernstein tends to value jazz as source material for American classical music. His career included jazz-related activities from beginning to end. Many songs from Bernstein's musical theatre works have entered thejazz repertory. Bernstein was accused of being a derivative composer earlier in his career, but his music became more "original" over time. He helped establish the use of jazz in concert music as an aspect of twentieth-century musical diversity. Principal jazz elements used are the rhythmic techniques of metrical superimposition and syncopation, and the use of harmonies and melodies with blue notes. Jazz pitch materials were frequently used in combination with classical techniques such as chromaticism and polychords, partially obscuring an obvious jazz sound.
