Salzige Träume
– Akkulturation im Jazz aus dem Blickwinkel afro-karibischer Rhythmik
The music-ethnological acculturation theorem of Afro-American music à la Melville Herskovits is a central contribution to the analysis of improvised music. Without much modification it is found in the entire German speaking literature of Jazz history. Some scientific approaches to modify that theorem have been discussed. A wider approach shows the interaction and historical relationship between traditional types of Jazz and Bebop as well as between rural and urban music in Cuba. Here a hybrid style of music, the Afro-Cuban phenomenon, is used as an example. The rhythm style clave de son is being used frequently in the music of the Antilles. It has been extracted to be the style forming element in Jazz recordings of the years 1920 to 1950, and can therefore be used to determine the different types of Hybridism. As a result we find that especially from the years 1950 to 1960 the German speaking analysis of reception of the Afro-Cuban mixture tries to exclude the influence of the Caribbean music.