Third Stream: The Fusion of Jazz and Classical Music
In the world of music, boundaries often define genres, but some artists seek to dissolve those lines entirely. Third Stream is a unique musical genre that represents a synthesis of jazz and classical music. Rather than simply adding a few jazz chords to a symphony or strings to a jazz band, Third Stream aims to create a new, hybrid form of expression that draws equally from both traditions.
The term was coined in 1957 by composer Gunther Schuller during a lecture at Brandeis University. He envisioned a style where the structural rigor of classical music and the spontaneous energy of jazz could coexist, creating a "third stream" of musical thought that existed independently of its two parent genres.
Key Facts
- Origin: Coined by Gunther Schuller in 1957 at Brandeis University.
- Core Concept: A fusion of jazz and classical music that is neither purely one nor the other.
- Essential Element: Improvisation is considered a vital component of the genre.
- Primary Goal: To create a new synthesis based on the reciprocal interest between the jazz and classical communities.
- Academic Hub: The New England Conservatory (NEC) established a dedicated department for this study.
Defining the Third Stream
Defining Third Stream can be complex. It may manifest as a group of jazz musicians playing composed works, or a jazz soloist collaborating with a symphony orchestra. The defining characteristic is the ability of the musicians to interpret and perform jazz elements within a classical framework, or vice versa.
In 1961, Schuller clarified that Third Stream is a genre located "halfway between jazz and classical music." He was adamant that it should not be called "third stream jazz," as that would imply it was merely a subgenre of jazz. Instead, he viewed it as a separate entity entirely.
What Third Stream Is Not
To prevent misconceptions, Schuller provided a specific list of what the genre does not entail:
- It is not simply jazz with string accompaniment.
- It is not jazz played on classical instruments.
- It is not classical music performed by jazz musicians.
- It is not the insertion of a classical composer (like Ravel or Schoenberg) into bebop changes.
- It is not jazz written in fugal form, nor a fugue played by jazz players.
Critical Reception and Cultural Struggle
The emergence of Third Stream was not without controversy. Critics from both camps often felt the fusion diluted the power of the original styles. Some jazz musicians viewed the movement as an "assault on their traditions," fearing that the formal constraints of classical music would strip jazz of its essential "swing."
Furthermore, the genre emerged during a period when African American musicians were fighting for recognition of jazz as a legitimate art form. Because European musical traditions were still the dominant standard for "high art," some argued that the push for fusion reinforced the idea that jazz needed classical validation to be considered legitimate.
Notable Compositions and Influences
The foundation of the genre was laid with recordings such as Music for Brass (1957) and Modern Jazz Concert (1958), later combined as The Birth of the Third Stream. These works featured contributions from composers like J.J. Johnson, John Lewis, and George Russell.
While not strictly "Third Stream" by Schuller's rigid definition, George Gershwin's Rhapsody in Blue (1924) served as a critical precursor, blending jazz riffs and embellishments with symphonic structures. Similarly, Mary Lou Williams's Zodiac Suite is cited as a forerunner of the movement.
| Composer/Artist | Work | Significance |
|---|---|---|
| Miles Davis | Sketches of Spain | Prominent example of the hybrid style |
| George Gershwin | Rhapsody in Blue | Crucial precursor blending jazz and symphonic music |
| Gunther Schuller | Transformation | Core Third Stream composition |
| Eddie Sauter | Focus | Suite for saxophone and strings |
| Mary Lou Williams | Zodiac Suite | Forerunner of the Third Stream movement |
Performers and Academic Legacy
The Chicago Jazz Philharmonic, founded by Orbert Davis, remains the only professional orchestra in North America solely dedicated to Third Stream music. Other composers who explored these boundaries include Igor Stravinsky, Leonard Bernstein, and Aaron Copland, though their works often leaned more toward classical music with jazz influences.
The academic institutionalization of the genre occurred at the New England Conservatory (NEC). Under Schuller's presidency (1967–1977), a Third Stream Department was created. Led by Ran Blake starting in 1973, the department eventually evolved into the Contemporary Musical Arts program, focusing on the "primacy of the ear" and improvisation across all global musical traditions.
Frequently Asked Questions
Is Third Stream just jazz with a symphony orchestra?
No. Gunther Schuller explicitly stated that Third Stream is not simply "jazz with strings" or jazz played on classical instruments. It is a synthesis that creates a new genre halfway between the two, rather than just adding orchestral accompaniment to jazz.
What is the role of improvisation in Third Stream?
Improvisation is considered a vital component. The genre seeks to combine the structured composition of classical music with the spontaneous, personal expression found in jazz improvisation.
Who is the most important figure in Third Stream music?
Gunther Schuller is the central figure, as he coined the term, defined its parameters, and established academic programs to preserve and develop the style.
Why did some jazz musicians dislike Third Stream?
Some musicians felt that the fusion was an assault on jazz traditions and that the influence of classical music made the results too serious and lacking in the essential "swing" of jazz.
How does Rhapsody in Blue relate to Third Stream?
While composed before the term "Third Stream" existed, Rhapsody in Blue is a key influence because it successfully blended jazz elements with a symphonic form, marking a cultural shift in how these styles were perceived.