The theme of dissertation is Jazz inspiration in classical music in the light of the performing arts on

selected examples chamber music. The author in this paper shows elements of jazz music in classical
pieces and explain problems with realize them. The paper is based on four works different classical
composers which were written in different years of the twentieth century: Darius Milhaud Suita
Scaramouche op. 165b for two pianos (1937), Leonard Bernstein Sonata for clarinet and piano (1942),
Joseph Horovitz Sonatina for clarinet and piano (1981) and Nikolai Kapustin Trio for flute, cello and
piano op. 86 (1998). These pieces have classical form like sonata, sonatina, suita or trio, use classical
elements with jazz feeling, dont use improvisation but use a lot of another jazz elements. It is important to
understand all jazz inspiration in these composition because it affect to performance them. Imagination
could create different qualities of sound with different meanings. If we know what about we play we could
share fuller stories with public of course in accord with the truth of art. Solve the problems of these works
lead to the development of technical skills, interpretation and increased music personality of each artist.
In the first chapter the author explain concepts like jazz, interpretation, piano chamber music. The
author describe those jazz elements that frequently appear in classical music, first of all: rhythm syncopation, complementary rhythm, polyrhythm, polymetre, unusual grouping of rhythm, rhythmic pattern
3+3+2, swing, walking bass, improvisation, phrasing, articulation emancipating the diverse rhythm,
harmony - voicing, tensions, bi-tonal systems, suspended chords, slash chords, upper structure, dissonant
harmonics, fourth harmonics, chords block, four-way close, riff structure, blue-notes, progressions, scales,
instruments, percussion qualities, form, doubling melody often shorter then in classical music. The author
describes the roots of jazz (African musical culture) and most important piano style (ragtime, stride, blues,
boogie-woogie, swing, Erroll Garners style and Art Tatums style, bebop, modal jazz, jazz-rock stylistics,
free jazz).
In the second chapter the author compares jazz and classical music.
Subsequent chapters focus on the analysis, which are preceded by a: short biographies with particular
emphasis on jazz inspiration, lists of works of chamber music: Darius Milhaud (Chapter Three), Leonard
Bernstein (Chapter Four), Joseph Horovitz (Chapter Five ), Nikolai Kapustin (Chapter Six).
Composers by using together elements of jazz and classical music enrich spirituality, develop music
and culture. This is a clear idea - make you have to have the courage to express life perceptible in pulses,
vitality, resilience, sounds often more rough, dirty, but you must do it in a sensitive manner, with class and
forms reserved for classical art. New quality the author called jazzyfied classical music.