Thematische Bibliographien / Jazz Analysis

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Jazz Analysis“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 27. Januar 2023

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Zeitschriftenartikel zum Thema "Jazz Analysis"

1

Blair, Andrew R., und John C. Camillus. „THE JAZZ BUSINESS: An Analysis of the Jazz Recording Industry“. International Jazz Archive Journal 03, Nr. 4 (01.04.2012): 18–44. http://dx.doi.org/10.2307/44759225.

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Rice, Alan J. „Jazzing It Up A Storm: The Execution and Meaning of Toni Morrison's Jazzy Prose Style“. Journal of American Studies 28, Nr. 3 (Dezember 1994): 423–32. http://dx.doi.org/10.1017/s0021875800027663.

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The publication of Toni Morrison's new novel Jazz with its insistent jazzy themes and rhythms will have concentrated the minds of critics on the relationship of her work to America's most important indigenous artistic form, jazz music. However, in their headlong rush to foreground the impact of jazz on Toni Morrison's latest novel critics should be wary of isolating this novel as her only jazz-influenced work. All of her novels have been informed by the rhythms and cadences of a black musical tradition and in this article I want to stress the centrality of jazz music stylistically to her whole corpus of work. Morrison herself has acknowledged the centrality of a musical aesthetic to her work in interview after interview long before the publication of Jazz:…a novel written a certain way can do precisely what spirituals used to do. It can do exactly what blues or jazz or gossip or stories or myths or folklore did – that stuff which was a common wellspring of ideas…Morrison is writing out of an oral tradition which foregrounds musical performances as well as other oral forms. Some critics have acknowledged the importance of jazz to her work, notably Anthony J. Berret in his article “Toni Morrison's Literary Jazz”. But, despite some provocative and illuminating comments, his is not a systematic account of the use of a jazz mode in Morrison's fiction and I wish in this paper to attempt a more rigorous analysis of her early novels, outlining her willed use of a jazz aesthetic as a pivotal structural device.
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Rothman, K. J. „Longevity of jazz musicians: flawed analysis.“ American Journal of Public Health 82, Nr. 5 (Mai 1992): 761. http://dx.doi.org/10.2105/ajph.82.5.761.

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Levinson, Jerrold. „Jazz Vocal Interpretation: A Philosophical Analysis“. Journal of Aesthetics and Art Criticism 71, Nr. 1 (Februar 2013): 35–43. http://dx.doi.org/10.1111/j.1540-6245.2012.01539.x.

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Viljoen, Nicol. „Harmonic classification, analysis and interpretation in jazz“. Ars Nova 26, Nr. 1 (Januar 1994): 43–60. http://dx.doi.org/10.1080/03796489408566517.

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Sawyer, Keith. „Improvisational creativity: An analysis of jazz performance“. Creativity Research Journal 5, Nr. 3 (Januar 1992): 253–63. http://dx.doi.org/10.1080/10400419209534439.

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Choi, Andrew. „Jazz Harmonic Analysis as Optimal Tonality Segmentation“. Computer Music Journal 35, Nr. 2 (Juni 2011): 49–66. http://dx.doi.org/10.1162/comj_a_00056.

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GLEISER, PABLO M., und LEON DANON. „COMMUNITY STRUCTURE IN JAZZ“. Advances in Complex Systems 06, Nr. 04 (Dezember 2003): 565–73. http://dx.doi.org/10.1142/s0219525903001067.

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Using a database of jazz recordings we study the collaboration network of jazz musicians. We define the network at two different levels. First we study the collaboration network between individuals, where two musicians are connected if they have played in the same band. Then we consider the collaboration between bands, where two bands are connected if they have a musician in common. The community structure analysis reveals that these constructions capture essential ingredients of the social interactions between jazz musicians. We observe correlations between recording locations, racial segregation and the community structure. A quantitative analysis of the community size distribution reveals a surprising similarity with an e-mail based social network recently studied.
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Sanchirico, Andrew. „Is Conventional Jazz History Distorted by Myths?“ Journal of Jazz Studies 8, Nr. 1 (17.07.2012): 55. http://dx.doi.org/10.14713/jjs.v8i1.30.

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<p>A recent book by jazz musician Randall Sandke strongly criticizes jazz writers and scholars for presenting a biased and misleading picture of jazz history. His basic thesis is that, because of ideology, the standard jazz texts exaggerate the importance of African American culture in the development of jazz, thereby creating a mythology of jazz. This article examines one aspect of Sandke’s thesis: his assertion that the myths created by earlier jazz writers are being perpetuated by present day writers. A content analysis of jazz history books published since 1990 indicates that Sandke’s assertion is largely false. Only one of seven myths that he identified appears with any regularity in the current jazz history books. The six other myths are rarely if ever found in the literature. After describing these findings, the article draws some conclusions.</p>
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May, Lissa F. „Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation“. Journal of Research in Music Education 51, Nr. 3 (Oktober 2003): 245–58. http://dx.doi.org/10.2307/3345377.

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The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only one factor, suggesting that instrumental jazz improvisation is a single construct. Stepwise multiple regression revealed self evaluation of improvisation as the single best predictor of achievement in instrumental jazz improvisation with aural imitation ability as the second best predictor.
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Dissertationen zum Thema "Jazz Analysis"

1

Davis, Glen Roger. „Levels analysis of jazz tunes“. The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314720939.

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Mahoney, J. Jeffrey. „The Elements of Jazz Harmony and Analysis“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
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Cordoba, Derick. „An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital“. FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophone and drums.
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Moore, Michael D. „A performance analysis of selected works for trumpet by Chet Baker /“. Full-text version available from OU Domain via ProQuest Digital Dissertations, 1999.

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Franz, David Matthew. „Markov Chains as Tools for Jazz Improvisation Analysis“. Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/36831.

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This thesis describes an exploratory application of a statistical analysis and modeling technique (Markov chains) for the modeling of jazz improvisation with the intended subobjective of providing increased insight into an improviser's style and creativity through the postulation of quantitative measures of style and creativity based on the constructed Markovian analysis techniques. Using Visual Basic programming language, Markov chains of orders one to three are created using transcriptions of improvised solos by John Coltrane in his song Giant Steps. Still considered as statistical data, the Markov chains are examined and information is extracted from them through the development of several statistical tools for musical analysis. Two general categories of tools for analysis are developed: Subtraction matrices and graphical comparisons of distributions. Using these tools and the raw Markov chain data for musical analysis, quantitative measures for creativity and style are postulated. These measures are based on previously developed models and definitions of creativity and style taken from the literature. The information acquired from the implementation of the analysis tools is applied to the models in order to provide a theoretical basis for the development of the quantitative measures and a framework for the interpretation of the information. Guilford's Structure of Intellect model is used for developing creativity measures and Heen's model of the constructs of style analysis is used for determining measures of style. Overall, this research found that Markov chains provide distinct and useful information for musical analysis in the domain of jazz improvisation. Many examples of Markov chains are enumerated and tools for analysis are developed that implement the Markov chains. It is then explained how Markov chains and the tools for their analysis can be interpreted to determine quantitative measures of creativity and style. Finally, this thesis presents conclusions on Markov chain portrayals, new analysis tools and procedures, quantitative measures of creativity and style, and, in sum, that Markovian modeling is in fact a reasonable and useful modeling approach for this application.
Master of Science
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Lyttle, David. „Modern approaches to swing jazz drumming : A stylistic analysis of twelve American jazz drummers, 1980-2008“. Thesis, University of Ulster, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502893.

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Gay, Fernández Carlos. „Jazz influence on classical clarinet : Analysis and identification of jazz elements in classical clarinet repertoire in the 20th century“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2384.

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This thesis is about jazz influence on classical clarinet repertoire, focusing on analysis and identification of all the jazz elements that run through this style into classical music. It also wants to describe the huge change of way of playing noticeable in the Swing Era in relation to the classical way.In the first part of the thesis I describe the birth of jazz and the political, historical and musical situation in the West, to understand the process in which they got blended. After that I identify and classify jazzy elements in classical music, analyzing in depth the repertoire of my exam-concert, which is strongly influenced by this style, and in a more superficial way other influenced classical clarinet works as well. I show in the very last part of the thesis how this influence is reflected, classifying these elements in harmonic, melodic, written and rhythmical ones.
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Harvey, Stephen P. „Jazz Chamber Music: An Analysis of Chris Potter’s Imaginary Cities and a Musical Composition“. Youngstown State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1471354255.

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Caban, Ruben. „An analysis of six original Latin jazz compositions and arrangements“. FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/1951.

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The purpose of this thesis is to examine the cross-cultural fusion of jazz harmony and Afro Caribbean rhythms. These six compositions were chosen for the composers Master's recital to demonstrate how his writing technique was influenced by his cultural and musical experience during his years of study and performance in the United States and abroad. The instrumentation was chosen to exemplify the fusion of the traditional percussive sounds of Latin music with jazz harmony, melody and improvisation. It is important to note that even though one of the compositions, E.T., is not written in a Latin style, it was nonetheless the product of a Puerto Rican composer, and it exemplifies his influences as a cross-cultural composer and soloist. Scores of the six musical works are provided in an Appendix, and a live recording of the recital is included.
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Cook, Scott Alexander. „Referential sets, referential tonics, and the analysis of contemporary jazz“. Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42104.

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While jazz has become more integrated into academia, the repertoire that is commonly examined is out of date. Today's leading jazz scholars tend to focus on a handful of musicians who made their mark in the '50s and '60s. But jazz writing has continued to evolve in the last fifty years, particularly in regards to harmony. Though many rooted chords—including MM7, mm7, and Mm7—can be heard in succession, the relationships between adjacent chords are obscure, and rarely manifest the standard II–V–I progression found in classic jazz. Often, successive chords belong to different diatonic sets. Some composers have eliminated chord symbols from their lead sheets altogether, leaving harmonic interpretation and relationships even more open-ended. Since the inception of modal jazz in the late '50s, priority has been given to groups of notes and the ways that they can interact, as opposed to specific chords, keys, and function. This presents a challenge not only for harmonic analysis but also for improvising on these changes in performance. Nevertheless, pitch-class organization can often be heard to promote a hierarchical ranking amongst the chords, resulting in strong points of reference. This dissertation develops and applies a theory of referential sets, for analyzing and improvising over representative examples of chromatic chord successions found in some contemporary jazz. By treating pitch-classes outside the collection as alterations, this theory provides a way to hear successions of seemingly unrelated chords as derived from such collections, which are in turn supported by global referential tonics. This is analogous to traditional, hierarchical ways of hearing secondary dominants and other chromaticism, but with different restrictions on the types of alterations allowed. It therefore describes more variegated progressions, and also allows referential sets to be different and larger than diatonic sets, while still providing the traditional benefits of harmonic analysis, such as the identification of continuities, recurring patterns of root successions, cadences, and other formal processes and relations that remain paramount in much of today's jazz writing.
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Bücher zum Thema "Jazz Analysis"

1

Gridley, Mark C. Jazz styles: History & analysis. 6. Aufl. Upper Saddle River, N.J: Prentice Hall, 1997.

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Gridley, Mark C. Jazz styles: History & analysis. 3. Aufl. Englewood Cliffs, N.J: Prentice-Hall, 1988.

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Gridley, Mark C. Jazz styles: History & analysis. 4. Aufl. Englewood Cliffs, N.J: Prentice Hall, 1991.

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Gridley, Mark C. Jazz styles: History & analysis. 6. Aufl. Upper Saddle River, N.J: Prentice Hall, 1997.

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Jazz styles: History & analysis. 2. Aufl. Englewood Cliffs, N.J: Prentice-Hall, 1985.

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Jazz styles: History & analysis. 5. Aufl. Englewood Cliffs, N.J: Prentice Hall, 1994.

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Jazz. Chicago: McGraw-Hill, 2004.

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Jazz. Lincolnwood, Ill: NTC Pub. Group, 1998.

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Enjoying jazz. New York: Schirmer Books, 1986.

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Analyser le jazz. Paris: Outre mesure, 2009.

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Buchteile zum Thema "Jazz Analysis"

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Burke, Robert L. „Analysis and Observations of Pre-learnt and Idiosyncratic Elements in Improvisation“. In Artistic Research in Jazz, 135–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-12.

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Finlay, Steven. „Hardware, Software and All that Jazz“. In Predictive Analytics, Data Mining and Big Data, 194–208. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137379283_10.

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„Jazz“. In Analysis of Jazz, 3–11. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08nj.4.

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„The Work of Jazz“. In Analysis of Jazz, 12–37. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08nj.5.

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„Front Matter“. In Analysis of Jazz, i—iv. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08nj.1.

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„Harmony 2—Harmonic Situations:“. In Analysis of Jazz, 98–136. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08nj.10.

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„Harmony 3—Harmonic Situations:“. In Analysis of Jazz, 137–62. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08nj.11.

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„Rhythm“. In Analysis of Jazz, 163–92. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08nj.12.

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„Form, Sound, Melody“. In Analysis of Jazz, 193–208. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08nj.13.

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„History—Theory“. In Analysis of Jazz, 211–38. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08nj.14.

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Konferenzberichte zum Thema "Jazz Analysis"

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TZANETAKIS, G., N. HU und R. B. DANNENBERG. „TOWARD AN INTELLIGENT EDITOR FOR JAZZ MUSIC“. In Proceedings of the 4th European Workshop on Image Analysis for Multimedia Interactive Services. WORLD SCIENTIFIC, 2003. http://dx.doi.org/10.1142/9789812704337_0061.

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Licorish, Sherlock A., und Stephen G. MacDonell. „What affects team behavior? Preliminary linguistic analysis of communications in the Jazz repository“. In 2012 5th International Workshop on Cooperative and Human Aspects of Software Engineering (CHASE). IEEE, 2012. http://dx.doi.org/10.1109/chase.2012.6223029.

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TADA-UMEZAKI, MASAHITO. „COMPUTATIONAL ANALYSIS OF THE FIRST STAGE OF THE PHOTOSYNTHETIC SYSTEM, THE LIGHT-DEPENDENT REACTION, BY QUANTUM CHEMICAL SIMULATION METHOD“. In Summer Workshop on Physics, Mathematics, and All That Quantum Jazz. WORLD SCIENTIFIC, 2014. http://dx.doi.org/10.1142/9789814602372_0010.

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Licorish, Sherlock A., und Stephen G. MacDonell. „What Can Developers' Messages Tell Us? A Psycholinguistic Analysis of Jazz Teams' Attitudes and Behavior Patterns“. In 2013 22nd Australian Software Engineering Conference (ASWEC). IEEE, 2013. http://dx.doi.org/10.1109/aswec.2013.22.

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Ryu, Sam, Arun S. Duggal, Caspar N. Heyl und Zong Woo Geem. „Mooring Cost Optimization via Harmony Search“. In ASME 2007 26th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2007. http://dx.doi.org/10.1115/omae2007-29334.

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A mooring system optimization program has been developed to minimize the cost of offshore mooring systems. The paper describes an application of the optimization program constructed based on recently developed harmony search optimization algorithm to offshore mooring design which requires significant number of design cycles. The objective of the anchor leg system design is to minimize the mooring cost with feasible solutions that satisfy all the design constraints. The harmony search algorithm is adopted from a jazz improvisation process to find solutions with the optimal cost. This mooring optimization model was integrated with a frequency-domain global motion analysis program to assess both cost and design constraints of the mooring system. As a case study, a single point mooring system design of an FPSO in deepwater was considered. It was found that optimized design parameters obtained by the harmony search model were feasible solutions with the optimized cost. The results show that the harmony search based mooring optimization model can be used to find feasible mooring systems of offshore platforms with the optimal cost.
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Ingrassia, Christopher M., Shantanu Y. Jani und Kevin D. Costa. „Evaluation of Analytic Estimates of Ventricular Wall Stress Using the Finite Element Method“. In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193262.

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The importance of ventricular wall stress to cardiac function has been well-documented [1, 2], although accurate quantification remains a challenge. In this study, three popular analytic formulas for estimating circumferential wall stress were comprehensively evaluated to identify the conditions for which their use may be appropriate. In particular, the equations of Laplace [3], Mirsky [4], and Janz [5] are commonly used in the fields of cardiology and echocardiography; despite the inaccuracy of key theoretical assumptions, they have been attractive for their simplicity. For validation, we employed specialized finite element methods, developed specifically for cardiac mechanics applications [6], to compute regional wall stress in a series of model chambers having systematically varying geometric and material complexity. We limited our analysis to circumferential stress for consistency with the theoretical equations, and because of its relevance to cardiac mechanics.
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