ABSTRACT
This article offers a music-historical context in which to evaluate the success of third-stream music (c. 1945–65). The claims made in favor of this hybrid fusion of jazz and classical music styles are examined, especially those of Gunther Schuller. The article argues that third stream ultimately failed to realize the often lofty goals of its most vigorous proponents due its tendency not to “swing” and to its strong attenuation of improvisatory freedom that jazz traditionally allots to soloists.
