Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz. Page: 31
View a full description of this dissertation.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
During the interlude, Lewis repeats his harmonic pattern and utilizes a series of
crescendos and decrescendos. As the volume decreases, the audience listens more
attentively to the music. While some would criticize Lewis for pandering to the crowd, I
suggest that Lewis is maximizing the audience's attention and, at the same time,
supporting his "In" crowd. As the band becomes quieter, the audience fills in the sonic
gap by clapping, yelling, and stomping, which becomes more prominent than the music.
The public approval of the music has forged a like-minded group of listeners. At this
point, everyone is part of the music-making experience.
For the majority of listeners who were not at the original performance but have
listened to the recording, the sense of community is experienced from a distance. At this
distance, though, these listeners can step back and experience the performance from a
privileged third-person perspective. They can view the communications between the
musicians and the audience as two equal parts of a dialogic experience. Whether they
are yelling and clapping or performing dynamic gospel figures, Lewis's trio and the
audience are responding to each other's communicative gestures. This is a unique
experience; in most mainstream jazz venues, there are limited ways for the audience and
musicians to interact. During this singular recording, Lewis achieves a new level of
communication with his audience. With this in mind, most listeners would agree that
Lewis's own "In" crowd was as important to the success of the recording as Lewis
himself.
Lewis refined his musical dialogues with the audience and remains very active as
a performer and as a radio and television personality. Lewis is an early example of a
mainstream jazz musician who used popular music elements to connect decisively with31
Upcoming Pages
Here’s what’s next.
Search Inside
This dissertation can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Dissertation.
West, Aaron J. Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz., dissertation, December 2008; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc9722/m1/42/: accessed April 25, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .