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1
Rose, Jeremy Philip. „A Deeper Shade of Blue: A Compositional Folio Informed by Ethnographic Research into the Sydney Jazz Scene“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14901.
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This folio contains scores and audio recordings of five original compositions with critical commentary and ethnographic investigation. The research aims to test existing concepts of an Australian jazz identity and create new constructs for how music is created by a practicing jazz composer and performer. The research presents the results elicited from 11 interviews with selected Sydney jazz scene participants, providing an oral account of the way they create, conceive and perceive jazz music in Sydney and to compare evidence. In the five compositions I research various ways of integrating improvisation, non-Western and Australian influences into jazz and classical music contexts. I provide a case study of eclecticism and the role of improvisation in shaping programmatic goals with specific reference of my major work Iron in the Blood: Music Inspired by Robert Hughes’ The Fatal Shore for jazz orchestra and two narrators. The other works include River Meeting Suite for saxophone quartet, sitar, vocals, tabla and iphone, Oneirology for saxophone quartet and piano, Between Worlds for string quartet and saxophone and Border Control for flute, piccolo, bass clarinet, trumpet and vibraphone. This research addresses some of the deficiencies in the literature on Sydney jazz and creative music and illuminates the creative practices lying behind the creation of localised jazz identities through a case study of my composition portfolio and creative process. By expanding discussion beyond my own compositions, this project helps flesh out how “Australian” approaches to jazz composition, are realised across the Sydney scene and how these are distinct from other locales of jazz music production around the world. My perspective as a significant stakeholder within the jazz community, given that I am a performer, composer, performing artist, band manager and label director provides the research with a unique credibility and valuable insight into the field.
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Abbey, Nicholas Leonard. „Phantoms, An original jazz trio studio recording - and - Dispelling phantoms: An Australian bassist exploring assumptions of jazz practice, An exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2259.
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This PhD research explores ways of adapting to the reportedly common creative, financial, and psychological challenges facing jazz musicians developing and operating in the late 2010s, an era in which the context surrounding jazz music is rapidly evolving. Motivated by the problem of resolving my own creative inertia and personal wellbeing dysfunctions, born of grappling with these issues as an Australian freelance bassist, this study investigates the theory that often-unquestioned assumptions underpinning practice are sedimented socially and that those based on historic, hegemonic, or habitual practices may no longer be universally appropriate. In doing so, it contributes to a growing and necessary dialogue about the ‘why’ and ‘how’ of practice.
With the aim of restructuring a more personally productive, sustainable, and meaningful approach to musicking, the primary research question asks: How can revising the musical and extra-musical assumptions of my jazz practice improve its processes and facilitate the generation of new creative work? The idiosyncratic and multifaceted methodology developed to investigate this question is itself an essential component of the research and a useful addition to research in the field. To uncover and revise tacit assumptions, the employed practice-led research methodology combines a suite of methods familiar to jazz practice and borrowed from qualitative research traditions with iterative creative cycles and several additional complementary theoretical concepts. The linchpin of this research strategy is a series of ten semi-structured interviews with bassists of a similar demographic (Sam Anning, Alex Boneham, Tom Botting, Anna Butterss, Karl Dunnicliff, David Groves, Noel Mason, Linda May Han Oh, Adam Spiegl, and Georgia Weber), which illuminate characteristics of contemporary practice and have provoked widespread changes to my own approach.
The theorising and testing of revised strategies led to new personal clarity about the purpose and imperatives of practice, enriched my musical understanding, provided insight into factors influencing self-doubt, established a revised compositional framework, and ultimately facilitated the creation of the studio album Phantoms (Nick Abbey, 2019). Treating these developments as a case study, the research extends the particulars of my practice to present transferrable implications for other practitioners and identifies avenues for future research; for instance, it questions assumptions around ‘freelance jazz musicianship’ in the ‘precarious gig economy’ and highlights the importance of ‘self-efficacy’ as a theoretical construct for jazz musicians. The research’s overarching recommendations are that practice assumptions be routinely elucidated and assessed; practitioners and practitioner-researchers strive towards a more uplifting and pluralistic climate of practice; and contemporary, holistic, and socially minded research continues to increase in prevalence.
3
Butete, Netsayi. „The jazz divas an analysis of the musical careers of six New Brighton vocalists“. Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002298.
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There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
4
Beach, Todd A. „Formative assessment and all that jazz: A collaborative action research project in a U.S. hIgh school“. Thesis, University of Sussex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488793.
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5
Meagher, Andrea. „The symbiosis of improvised and rehearsed elements in the creation of contemporary jazz ensemble music“. Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/45467/1/Andrea_Meagher_Exegesis.pdf.
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This research investigates the symbiotic relationship between composition and improvisation and the notion of improvisation itself. With a specific interest in developing, extending and experimenting with the relationship of improvisation within predetermined structures, the creative work component of this research involved composing six new works with varying approaches for The Andrea Keller Quartet and guest improvisers, for performance on a National Australian tour. This is documented in the CD recording Galumphing Round the Nation - Collaborations Tour 2009. The exegesis component is intended to run alongside the creative work and discusses the central issues surrounding improvisation in an ensemble context and the subject of composing for improvisers. Specifically, it questions the notion that when music emphasises a higher ratio of spontaneous to pre-determined elements, and is exposed to the many variables of a performance context, particularly through its incorporation of visitant improvisers, the resultant music should potentially be measurably altered with each performance. This practice-led research demonstrates the effect of concepts such as individuality, variability within context, and the interactive qualities of contemporary jazz ensemble music. Through the analysis and comparison of the treatment of the six pieces over thirteen performances with varying personnel, this exegesis proposes that, despite the expected potential for spontaneity in contemporary jazz music, the presence of established patterns, the desire for familiarity and the intuitive tendency towards accepted protocols ensure that the music which emerges is not as mutable as initially anticipated.
6
Holgate, Gary David. „Interactions in improvised music: people at play“. Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10076.
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Interactions in improvised music: people at play This project began as an open exploration of musical interactions in a trio in which I have played bass for many years. We gave three concerts for the project and I explored our interactions by talking with the pianist/bandleader and drummer after each concert. They described a broad range of interactions and explored a number of different conceptions of what entails a musical interaction. The musicians were keen to talk about the factors that motivate them to perform together, mainly the desire to play. Play, for them, is its own reward. They aim to collaborate in the moment of performance to create something fresh, rather than display their instrumental technique or present music that has been preconceived. An appreciation of this motivation is needed to understand their interactions in concert. Audience members were also interviewed after every performance. They each experienced the concerts differently, in a way that reflects their preoccupations and interests as much as it reflects the concert event. The research thus provides a view of individuals and their differences that contrasts with the body of music research focused on common experiences within particular musical cultures and the acquisition of the skills required to participate in those cultures. This practice-led research project was allowed to develop and find focus gradually in cycles of performances, interviews and analysis of interview transcripts, concurrent with an ongoing exploration of texts about doing research. Various interactions – during the performances and interviews, between the researcher and the interview transcripts and between the researcher and research texts – contributed to the project’s development. These interactions can be thought of as play between foreknowledge and the unknown. Accordingly, play as described by the musicians and as defined in hermeneutics, was actively pursued as a way of developing an appropriate methodology for the project.
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Lile, Trudy. „Creating new standards : jazz arrangements of pop songs : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music in Jazz Performance, New Zealand School of Music, Auckland, New Zealand“. New Zealand School of Music, 2009. http://hdl.handle.net/10179/1203.
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This study involves the research, analysis, and performance of existing arrangements of songs that have been played and recorded by jazz musicians, and are identifiable as pop songs of the last thirty years. This project will discuss the development of these songs as new repertoire in the jazz idiom. In particular it will examine transcriptions of arrangements by Herbie Hancock, Dianne Reeves, Brad Meldau, Charlie Hunter, Christian McBride, and Bob Belden. The analysis of these transcriptions will consider the techniques these musicians used in their arrangements including reharmonisation, melodic interpretation, rhythm, and restructuring of the form of the original song. Further, the techniques identified in the analyses will be applied in the creation of new arrangements of similar songs from that era for jazz ensemble of various sizes.
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Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „An intercultural approach to composition and improvisation“. THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.
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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundariesMaster of Arts (Hons.)
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Strazzullo, Guy. „An intercultural approach to composition and improvisation“. Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/501.
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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries
10
Love, Aaron Anyabwile. „UNINTERRUPTED CONVERSATIONS WITH OUR EEGUN: PRELIMINARY CONSIDERATIONS FOR METHODOLOGICAL APPROACHES TO THE RESEARCH OF AFRICAN MUSIC AND THE MUSIC OF JOHN COLTRANE“. Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/289387.
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African American StudiesPh.D.
African music and its musicians from the Pharaonic periods to Mali to the Mississippi Delta to the South Bronx have contributed some of the most lasting and influential cultural creations known. The music and musicians of Africa have been studied as early as the early 18th century. As interest in African music grew so did the discipline of ethnomusicology. Ethnomusicology has sought to understand, interpret and catalog the various areas of African music. In the United States interest in the music as a continuation of African culture was also sought after and investigated as an important area of research. The main objective of this project is to help expand the methodological approaches in the study of African Diasporan musical cultures and their practitioners. The author undertook a critical examination of the previous works on the subject made by both Continental and Diasporan African scholars, in addition to fieldwork in the United States and Africa (Ghana). Through considering the work songs of Pharaonic Egypt, the cosmogram of the Bantu-Kongo and the life of John Coltrane in particular this proposed work articulates new methodological tools in the research of African music and musicians.
Temple University--Theses
11
Suraučiūtė, Ieva. „Džiazinio dainavimo interpretacijos gebėjimų ugdymas: veiklos tyrimas Džiazo ir bliuzo dainavimo studijoje“. Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100709_135146-46288.
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Šio darbo tikslas – sukurti tyrimais bei autoritetingų teoretikų įžvalgomis paremtą džiazinės vokalinės interpretacijos gebėjimų ugdymo teorinį modelį ir veiklos tyrimo metu patikrinti modelio efektyvumą. Pirmiausia buvo siekiama apžvelgti mokslinę literatūrą, susijusią su atlikimo interpretacija, išskirti atskirus interpretacijai reikalingus gebėjimus. Remiantis atlikta analize buvo sukurtas džiazinės vokalinės interpretacijos gebėjimų ugdymo teorinis modelis bei parengtos juo grįstos praktinės užduotys. Galiausiai, buvo patikrintas modelio pagrįstumas bei praktinių užduočių efektyvumas.
Veiklos tyrimas buvo atliekamas 2010 metų Sausio–kovo mėn. Džiazo ir bliuzo dainavimo studijoje pravesti 22 užsiėmimai. Tyrime dalyvavo 12 studijos narių. Modelio efektyvumas veiklos tyrimo metu ištirtas trianguliaciniu būdu: interviu (individualus giluminis interviu, grupinė diskusija ir nominalinės grupės metodas); stebėjimu (vedamas stebėjimo dienoraštis); mišraus tipo anketomis (atlikta studentų anketinė apklausa).
Pagrindinė atlikto tyrimo išvada yra ta, jog modelio panaudojimas buvo naudingas, ugdant tiriamųjų interpretacinius gebėjimus: patobulėjo studentų gebėjimas susikoncentruoti ties dainos turiniu, psichotechnikos valdymas, pasitikėjimas savimi. Surinkti duomenys parodė, jog pačios naudingiausios buvo užduotys, skirtos dainos teksto analizei. Be to, paaiškėjo, jog itin svarbios ir reikalingos buvo praktinės užduotys, ugdančios pasitikėjimą savimi... [toliau žr. visą tekstą]The purpose of this thesis was to create a research-based theoretical model for developing vocal jazz interpretation competencies and to examine its effectiveness through action research. The first aim was to write a literature review concerning music performance interpretation and its pedagogy. A subsequent aim was to define the specific competencies needed for vocal jazz interpretation. A practical application lesson was created for each of the determined competencies. Finally, the efficacy of the model and the effectiveness of the practical tasks were examined. The qualitative action research study was conducted from January to March, 2010 at The Jazz and Blues Vocal Studio in Kaunas during twenty-two group vocal sessions. The research data consisted of a triangulation of sources: interviews (in-depth interviews, collective discussions, nominal group technique); direct observation, during which a research diary was kept; and data gathered via a questionnaire. Twelve participants took part in the action research. The overall conclusion was that use of the model had a positive impact on the students’ vocal jazz interpretation competencies: the ability to concentrate on the content of the song, and the management of psycho-technique. Data analysis revealed that it is extremely important to boost students’ self-confidence, and improvisational theater games were judged to be the best way of achieving this goal. All respondents stated that... [to full text]
12
Smith, Andy. „Pat Metheny: Composing to Exploit the Sound of the Guitar : a thesis submitted to the New Zealand School of Music [in partial fulfilment of the requirements for the degree of Master of Music]“. New Zealand School of Music, 2007. http://hdl.handle.net/10179/1113.
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The study's objective is to relate the development of Pat Metheny's stylistic characteristics from his interpretation of jazz standards to their incorporation into his own compositions. Stylistic elements are established and a sample of his compositions are analysed to compare his solo style in standards with his compositional style. Metheny is a recognised innovator in technique and uses a wide range of instruments in the guitar family, both traditional and radically new. The use of such instruments frees Metheny from some restrictions and the possibility that this freedom is a major influence in his improvisation and composition is remarked on. There is scope for further work based on a wider sampling, and the methodology used in this study could probably be modified to focus on this objective.
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Andersson, Anders-Petter. „Interaktiv musikkomposition“. Doctoral thesis, Högskolan Kristianstad, Sektionen för hälsa och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9771.
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This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and perspectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience dimensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola
Interaktiv musikkomposition
Interactive Music Composition
Interaktiv ljuddesign
Interactive Sound Design
Musik och Hälsa
Music and Health
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黃姵綺. „A Research on Branding and Maketing Strategies of Taichung Jazz Festival“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/09715939302075989170.
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碩士國立臺灣師範大學
表演藝術研究所
100
Many western countries organize arts and cultural festivals in order to enhance local areas’ and cities’ image while repelling the impact of globalization. Over the past decade, Taiwan’s cities and towns have coordinated the cultural policies to highlight local characteristics but political interests, economics and other considerations have influenced the develop of these dazzling festivals over these past ten years. Unfortunately, only a handful of these festivals in Taiwan are robust, that is having a clear focus; most festivals seem to be a mere formality that is having a distorted content. The author selected the Taichung Jazz Festival as a case to study because the researcher is a native of Taichung who loves of her community and has been an enthusiastic participant of the festival for many years. Additionally, the author believes that the Taichung Jazz Festival is a shining example of music festivals in Taiwan. This study will be undertaken through in-depth interviews with stakeholders of the Taichung Jazz Festival, and referenced to other cases: Chiayi International Band Festival and Edinburgh Festivals as well as supplemented by secondary data method to view the main elements of the Taichung Jazz Festival brand construction and marketing strategies in order to analyze and research the following: (A) To understand the Taichung Jazz Festival in the process of development planning and the actual implementation, including the support and obstacles encountered. (B) With a strict budget, how the organizers effectively allocate marketing communication tools, and integrate the resources of the stakeholders in order to achieve synergy. (C) In order to make the Taichung Jazz Festival even stronger, proposed developmental strategies and recommendations are offered based on the above analysis. The results show that: the Taichung Jazz Festival has steadily developed for nearly a decade because of the following reasons: (A) held at the same time and the same place for a nearly decade, equally accumulated cultural energy (B) great support from the government (C) the Taichung Jazz Festival has a strong festival theme, and international performing groups are readily receive recognition. However, the Taichung Jazz Festival still has weaknesses needing to overcome: (A) limited funding (B) lacking of media publicity (C) Jazz is a non-native cultural in Taiwan. In addition, the external environmental factors provide some opportunities and threats to the future development of the Taichung Jazz Festival, for example, more jazz festivals are held, so how to make the Taichung Jazz Festival stand out among the other festivals, as well as public sector should adjust policies in order to effect long-term planning of the Taichung Jazz Festival. The conclusion of the study is divided into two parts. First of all, the development proposals for the Taichung Jazz Festival SWOT analysis: (A) to develop festival tourism (B) to expand activity funds through corporate sponsorship and ticketing (C) to strengthen the festival publicity (D) adjust public sector policies (E) use music as a medium to achieve cross-regional exchanges (F) to strengthen the unique selling point of the Taichung Jazz Festival. The second part is to analyze and clarify the Taichung Jazz Festival in shaping the festival brand strategies to have the following five points: (A) to strengthen the festival theme (B) to improve international visibility (C) to expand the scale of the festival (D) to join the integrated marketing plan (E) to expand the target audience.
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Huang, Li-Tzu, und 黃麗慈. „Musical Program Direct and Research on the Localization of Fusion Jazz in Taiwan“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/24n3wk.
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碩士國立臺灣師範大學
民族音樂研究所
100
When the contemporary culture has been overwhelmed by the globalization, at the same time, self-approval of local culture emerges in abundance in each area. To demonstrate the nationality or the national characteristic, local culture make great strides forward to the world, producing the phenomenon called “loglobalization”. Also in Taiwan, audience were moved by locality fusion jazz which improvising with familiar music element, cultivating this new variety of music to be rich and colorful. This research take Yuwen Peng’s musical experience and the concert “Spins, Turns &; Loops” as an example, discussing the reserve value of the localization of fusion jazz in Taiwan by realize the creation background of fusion jazz and the found of “Sizhukong” jazz band. By filmed the Sizhukong concert in 2010, the research established a process of multimedia recording and musical program direct method. From the digital archives viewpoint, the charming performance of localization fusion jazz could be recaptured in the film, not only take as a study model of fusion compose, but also provides the firsthand material for the scholarly research., and it will extend its artistic value when to meet other proper applications or unexpected inspiration under different situation in the future. As mention above, the research devotes in deep thinking which between the method of program direct and the essence of music, to create a valuable multimedia recording which represent the core of performance and content in music.
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Chang, Ya Wen, und 張雅玟. „The Research into Event Marketing,City Image and Civic Identity-Using “Taichung Jazz Festival ” as the Research Object“. Thesis, 2013. http://ndltd.ncl.edu.tw/handle/87150112054426805864.
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碩士亞洲大學
休閒與遊憩管理學系碩士在職專班
101
“The City of Jazz,” broadening the global views of her citizens and introducing international performances to the city, is one of the key policies of Taichung City Government, with cultural activities, to market Taichung city. The policy can expand its linkage with the local instruments industry. Also “Taichung Jazz Festival” is expected to be the cultural assets. Whether a public issue like this is able to construct the civic identity is the core topic of the study. The research aims to explore “Taichung Jazz Festival”, by which further examines the correlation among event marketing, civic identity and city image. The research methods include literature review, questionnaire and quantitative analysis. The questionnaire respondents are citizens of Taichung City who are over sixteen years old. Of 476 valid questionnaires are analyzed by the researcher with descriptive statistics, factor analysis, independent sample test, ANOVA, and Pearson’s correlation to acquire the research results. The results of this research are described as follows. For citizens of different backgrounds, the hypothesis that their “ Taichung city image” shows significant differences is partly valid, and so is that of their identification with “Taichung Jazz Festival” showing significant differences. Besides, part of the hypothesis that the understanding of her citizens for the event marketing of “Taichung Jazz Festival” shows significant differences is also valid. The more impressive the city image of “The City of Jazz” of her citizens is; the more identification with “Taichung Jazz Festival” is. Also, the more the citizens know about the event marketing for “Taichung Jazz Festival”; the more they identify with the event. Finally, there is a positive correlation between the event marketing of “Taichung Jazz Festival” and Taichung city image of “the City of Jazz.” In addition to elaborating the research purpose, the research also serves as one of the policy analyses for the prospective promotion of “Taichung Jazz Festival” as well.
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Chou, I.-Wen, und 周意紋. „A Research on Planning and Development of Taichung Jazz Festival, From 2003 to 2008“. Thesis, 2009. http://ndltd.ncl.edu.tw/handle/eqad42.
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碩士國立臺灣師範大學
表演藝術研究所
97
Festival events are the cultural activities people feel the most about. Council for Cultural Affairs started assisting every city to hold “National Arts Festival” and”International Minor Performances” since 1994. Each city holds international cultural arts festival according to “One Festival Every Month” project promoted by Tourism Bureau on 2001, which enhanced every city to market local industries by giving festival activities, and developed different styles of events focus on local features. Taichung City, which sees “culture, economy and internationalism” as the goal of its city plan, choose “Jazz” to be the theme of the arts agenda, in hope to connect and interact with the whole world through Jazz Festival, which combines arts education with performance to wake up local jazz musicians and the prospective audience. However, jazz is not originated from Taichung, therefore it’s indeed a challenge to stimulate local tourism business by holding Taichung Jazz Festival at the same time infuse with international savor. The object of this research is to understand a festival event based on an unoriginal culture, and to achieve its final goal by holding the cultural events, which combine with local industries and develop local cultural features, in a long run, connect with the entire world. This research help understand the organizing process and current situation of Taichung Jazz Festival through the cross-integration of the in-depth interviews and secondary data analysis of qualitative studies. Also, the suggestions of future activities are further discussed. The research shows that Taichung Jazz Festival expands its scale year by year and gradually develops its own pattern. However, the arena seems to be unable to load current event-goers and massive traffic flow, and the linking with local industries is not strong enough. Besides, there is the deficiency of localization, as well as the expense resource and media promotion. One of the biggest problems of future Taichung Jazz Festival is the lack of sustainable development mechanism. Accordingly, the suggestions for the future development of Taichung Jazz Festival are: 1. to make a perfect arena operation plan, 2. to add more traits of the events to advertise the festival, 3. to expand characters of local cultural agenda, 4. to build sustainable development mechanism.
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Wei, Gwo-Hsiung, und 魏國雄. „Research on the Product Image of Musical Instrument - A Case Study of Jazz Drum Design“. Thesis, 2004. http://ndltd.ncl.edu.tw/handle/89298224462312920423.
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碩士大同大學
工業設計學系(所)
93
This study explored the relationship between jazz drum’s form elements and the form image. It is comprised of four parts. The first part is to investigate jazz drum users’ emphases on the designing elements of jazz drums, and to conclude the major factors to be considered. In the second part, new designs are made and combined to form test samples, according to the designing elements that jazz drum users considered most important, and then image test, explore the form image structure of jazz drums, and the corresponding relation between the form designing elements and the form image. In the three part, Further analyse the causal relation between the integrated ratings of “likeness, beauty” and the jazz drum image. In the four part, According to the analysis results in the previous stage, newly designed samples to fitting the integrated ratings of “likeness, beauty”, and then conducting image test once of validation, The major findings are as follows： (1) Manufacturers have different emphases on the form design of jazz drums from users. Manufacturers have their prime concern on branding and quick launch of new products. Therefore, they focus more on such factors as the shell color, and surface finishing of shell; users tend to rely on personal preference based on their perception of the products, and focus more on the surface finishing of metal accessories and surface finishing of shell. (2) Form image of jazz drums is constituted by three main factors, namely, classiness, liveliness and harmony. (3) Jazz drum’s shell with patterned design gives people a classy image, and on the contrary it gives a vulgar image; good brightness of the surface of jazz drum’s metal accessories gives people a livelier image, and on the contrary, it gives an old and dull image. On the other hand, when brightness of the surface finishing of the shell and metal accessories is similar, it gives people a harmonious image, and when the brightness differs too much, it gives an awkward image. (4) Jazz drum form that is liked should possess the “lively” and “valuable” image, and beautiful jazz drum form should possess the “valuable,” “lively” and “harmonious” image. (5) Jazz drums with the combination of “ordinary electroplate chrome finishing for the surface of metal accessories” and “different patterns on the surface of the shell” give a “lively,” “valuable” and “harmonious” image, and fulfill the consumers’ perception of being “liked” and “beautiful.” (6) When the surface finishing of metal accessories is too glaring, it does give a lively feeling, but cannot be easily mixed with the shell surface, and hence affect the overall harmony of the product. On the contrary, plain and elegant bright surface finishing can be easily mixed with the surface finishing of the shell.
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YI-TO, CHEN, und 陳易多. „Research the development and establishment of district festival brands：A case Study on Taichung Jazz Festival“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/mq33vm.
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QUI, ZHANG-MIN, und 邱章閔. „Research on Leisure Experience Promotion on Tourists’ Satisfaction -A Case Study of Taichung Jazz Festival“. Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3mgrs6.
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碩士育達科技大學
資訊管理所
106
Taichung Jazz Fesltival makes tourists understand the activity history and construction also feel comfortable for Jazz music. Taichung government invites several Jazz bands from different countries to perform in Taichung Jazz Fesltival. So that tourists will search more information actively after Jazz music experience and then fall in love with Jazz music. Under such atmosphere tourists promote satisfaction to Taichung Jazz Fesltival for loving Jazz music. For this reason, this work supposes leisure involvement affects flow experience, satisfaction and leisure experience, and leisure experience affects flow experience and satisfaction. Also Leisure Experience to be mediator to affect the relationship between leisure involvement and satisfaction. This research supposes leisure involvement positively affects flow experience, satisfaction and leisure experience, and leisure experience positively affects flow experience and satisfaction. Also leisure experience is mediator in the relationship between leisure involvement and satisfaction. Tourists enjoy listening Jazz music further researches it history and meaning. On the other hand, under such relaxed atmosphere people touched the heart by Jazz music and fall in love with Jazz music leads to satisfy with the Taichung Jazz Fesltival. The number of participant gets more every years, a lot of these participants are come from other countries. Because of Taichung Jazz Fesltival always takes place at fall, at same time with the Jazz music make people relieve tension that also the reason why government organize these activities.
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„A New Cartography: Learning Jazz at the Dawn of the 21st Century“. Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17840.
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abstract: Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers.Dissertation/Thesis
D.M.A. Music Education 2013
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Chang, Ming-fen, und 張明芬. „Research on festival events as the city marketing strategy－A Case Study of Taichung Jazz Festival“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/28098679918014605029.
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碩士逢甲大學
景觀與遊憩碩士學位學程
100
Based on the conception of basic cognizance, this study explored the tourists’ experiences and impressions about the Taichung Jazz Festival from the point of activ-ities attendance, marketing strategy and marketing benefits, to find out the relation-ships among them. Upon this study, we may provide the useful relevant information to the organizers. Through the on-site questionary survey and random sampling, 400 pieces questionaries were distributed and 394 pieces effective questionaries were col-lected. Investigation data was analyzed by descriptive statistics to identify the responednts’ social status and their basic cognizance. Activity experience was distrib-uted to physical experience and environmental experience via reliability analysis and factor analysis. Marketing strategies were distributed to 5 aspects - promotion, activity benefit, price cost, event planning, and performing autivities. Marketing benefit was distributed to tourism image and revisit motivation. After that, ANOVA and regression model were used as the final proving methods to exam the hypotheses. The results show that the respondents’ perception of activity experience, market-ing strategy and marketing benefit were obviously affected by how long they have stayed, and how often they attended the activities during the festival. It is also signifi-cantly to extend the respondents’ activity experience and to emphasize the impression of activity benefit by attending other consumer activities beside the major activities. There are certain correlations among “festival planning” of city marketing strategy, activity experience and marketing benefit.
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Lin, Jing-yan, und 林京燕. „Comparative research of Jazz courses in Alfred'' s basic piano library and Hal Leonard student piano library“. Thesis, 2009. http://ndltd.ncl.edu.tw/handle/87720278782404257395.
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碩士國立臺南大學
音樂學系碩士班
97
The purpose of this research is to analyze and compare the usage of Jazz course in Alfred and Hal Leonard piano lesson. This research used the content analysis, comparative education research, and also developed own analysis tables according to the results of related references discussion as the main tools for the research. The scope of research converse Alfred piano textbook grade 1A~6, Hal Leonard piano textbook grade 1~5. According to the study results and findings, this research has the following conclusions: I. Regarding the usage of Jazz course in Alfred piano textbook, the Jazz-related content is rated 11.1% because it is adopted to fill in the progress of classic piano teaching. The fact is that it does not fully cover Jazz music and style and lack of systematic planning of the curriculum. II. Regarding the usage of Jazz course in Hal Leonard piano textbook, the Jazz-related content is rated 11% because it is adopted to fill in the progress of classic piano teaching. The fact is that it does not fully cover Jazz music and style and lack of systematic planning of the curriculum. III. Comparing the Jazz course between Alfred piano textbook and Hal Leonard piano textbook, the latter is enriched in content as shown in the following aspects. A. Content of Jazz course: In Hal Leonard piano textbook, it allows students to experience rhythm by accompanying with Jazz style piano while playing two and three black key, or accompanying songs , jazz waltz rhythm, 9th chord, minor-major 7th chord, d minor blues scale and 13 th chord with swing rhythm. B. Proportion of pages in Jazz course: The number of pages of Jazz course in Alfred piano textbook is pretty close to that in Hal Leonard pianotextbook. It also shows the proportion of Jazz course in Alfred piano textbook is accumulated by students’ level of skills; however, it is still based on general piano teaching. C. Elements of Jazz music: (i) Similarities: Both textbooks cover Jazz chords, scales, style and rhythm. In addition to the common 3th chord and 7th chord, they also use 9 th chord, 11 th chord, C major and G major blues scales, swing rhythm, and the form of twelve bar. (ii) Differences: In Hal Leonard piano textbook, there are four songs using Jazz elements, and three songs using Jazz improvisation techniques. The total number of songs in Hal Leonard piano textbook is more than that in Alfred piano textbook. Alfred piano textbook uses jazz chord that is augmented 7th chord and diminished 7th chord; it also uses syncopation a lot. Hal Leonard piano textbook uses jazz chord that is 13 th chord and minor-major 7th chord; the jazz scale used are B flat blues scale, G flat blues scale, d minor blues scale; it also uses jazz waltz rhythm and blues form a lot. In particular, it includes improvisation practice in grade II to IV. IV. Regarding the curriculum of both textbook, there is no implementation of complete Jazz music system. V. Regarding the style of jazz music in both textbook, it is limited to rock and roll, blues, Jazz waltz, boogie-woogie, swing, soul, etc. Finally, suggestions are made according to the results of the observations to provide reference for relative researchers and piano teachers.
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KUO, YI-HSUAN, und 郭逸萱. „The Research and Deliberation of Brushes in Jazz Style - Analysis of Famous Drummer Transcription and Performance in the 20th Century“. Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6q2y8d.
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碩士輔仁大學
音樂學系
107
Brush playing is an indispensable technique in the performance of a drum set. It’s warm sound, low frequency, and long sustain make it possible for the drummer to have different interpretations. This paper transcribes three famous drummer’s playing, including Elvin Jones (1927-2004) - “Willow weep for Me”, Kenny Washington (1958-) - “Raincheck” and Jeff Hamilton (1953-) -“Daahoud” with comparing the music analysis and interpretation. Through this research topic, the reader is unified in the use of brushes and provides a more systematic application of drum brushing and performance. I hope that this rich and informative dissertation of a particular subject will become a modern drumming example in Taiwan.
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FAN, CHING-WEN, und 范清文. „The Research of Promoting Jazz Big Band in Elementary Schools – A Case Study of New Taipei City Chien-Kuo Primary School“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/92nrz8.
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碩士國立臺北教育大學
音樂學系碩士班
104
In the trend of fewer children and lower birth rate in Taiwan, it has becoming more and more difficult to maintain concert bands for junior high schools and elementary schools. The most feasible solution to keep the music performance attracting and diverse while not dismissing the bands at the same time is transfering the concert bands in schools to jazz big bands . This research aims to exam all the conditions and factors of promoting jazz big bands in elementary schoosl particularly focusing on Chien-Kuo Primary School in New Taipei City. First of all, the researcher studied the possibilities and all the requirements of how to organize concert bands in schools, and then tried to describe the current jazz music environments and developments in Taiwan. Lastly, the researcher gained the study results by interviewing, observing, and some other ways. During the study, the researcher found that the jazz big band could effectively deduce the demand of people and save a plenty of cost. Furthermore, students could continually participate in learning musical instruments from various musical clubs in every schools. From the educational points of view, learning jazz music has possitive impacts on students because it demonstrates an inclusive and integrated style, yet it still shows unique and innovative characters. The trend of appreciating jazz music has become more and more popular with the help of promoting by civil organizations and govornment, and people have widely accepted jazz music and bands in recent years; Nevertheless, jazz big bands remain rare in junior high and elementary schools in Taiwan. Establishing a jazz big band can not only add an attracting feature for schools, it can also rebuild the image of a school.
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Lee, Chang-Hung, und 李長鴻. „The Research and Deliberation of Drum Set Performance Styles in 20th Century- Take Famous Jazz and Rock and Roll Drummer Performance as Examples“. Thesis, 2014. http://ndltd.ncl.edu.tw/handle/36584h.
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碩士輔仁大學
音樂學系
102
The history of drum sets development is just only around one hundred years, but they are generally used in different music styles. Jazz and Rock and Roll music play the most important roles of drum sets evolution. Drum sets also become the indispensable element of Pop music. The research purpose of this thesis is offering people who want to learn playing the Jazz drums obvious concepts of different backgrounds and music characteristics of different generations by analyzing, deliberating and collecting amount of materials which include lots of books, magazines, and audio materials that the author studied and listened to all around the world, and also taking famous drum players as examples which give more clear performance ways to play the jazz drums and set the model of practicing and performing. The thesis is divided in five chapters according to studies of four parts of performance of drum sets. The first part is based on the history of Jazz music to understand different Jazz performance styles from different generations and analyzes special skills of playing Jazz from famous players who devoted themselves to Jazz. The second part is heeded on studying deeply about important drummers of Rock n Roll history and music. The third part analyzes references and history about drum sets because they play the soul role in Jazz and Rock n Roll music. The forth part is interviewing modern drummers in Taiwan about their stage experiences to realize clearly the differences of music characteristics between Jazz and Rock and Roll. The author hopes that people who want to learn to playing the drum set could understand the characteristics, styles and differences between two main trends of music by his devoted study.
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Alton-Lee, Amity Rose. „The improvisation of Tubby Hayes in 'The New York Sessions' : exegesis submitted in partial fulfilment of a Masters in Musicology, New Zealand School of Music“. 2010. http://hdl.handle.net/10179/1419.
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Audio files not uploaded onto institutional repository due to copyright restrictions: Hayes, T. & Clark, T. The New York sessions.Tubby (Edward Brian) Hayes; prodigious self taught multi-instrumentalist and virtuoso tenor saxophone player has been proclaimed by some to be the best saxophonist that Britain has ever produced: "Indisputably the most accomplished and characterful British jazzman of his generation." His career, although cut short (he died undergoing treatment for a heart condition in June 1973, aged 38) was perpetually intense, incredibly prolific, and non-stop from his debut at the age of fifteen until his premature death. Hayes was proficient on many instruments; all saxophones, clarinet, flute, violin and vibraphone as well as being an accomplished bandleader and arranger. However it was his virtuoso tenor saxophone playing that found him acclaim. Although well known in his time and widely renowned for his ability, Hayes until recently has been little studied. It is only in the last few years that many critics and students of jazz have attempted to gain an understanding of Hayes' improvisational concept, which has been both praised as genius and criticised as directionless: Tubby Hayes has often been lionized as the greatest saxophonist Britain ever produced. He is a fascinating but problematical player. Having put together a big, rumbustious tone and a delivery that features sixteenth notes spilling impetuously out of the horn, Hayes often left a solo full of brilliant loose ends and ingenious runs that led nowhere in particular... However, Hayes, his legacy, and his inimitable style of tenor saxophone playing would truly leave their mark on the British Jazz community for generations to come. Dave Gelly summed up Hayes by saying that Tubby "played Cockney tenor - garrulous, pugnacious, never at a loss for a word and completely unstoppable."
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Wu, Jia Jeng, und 吳家蓁. „The Performance and Research of the Jazz Style Vibraphone Repertoire in the Modern Percussion Literature -- Ney Rosauro’s Concerto for Vibraphone and Mark Glentworth’s Blues for Gilbert for the Example“. Thesis, 2009. http://ndltd.ncl.edu.tw/handle/13578208171778768459.
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碩士台南科技大學
音樂研究所
98
This research is focused on the usage and interpretation on the jazz style vibraphone literature in the modern percussion music works, and analyzes two important vibraphone works : Ney Rosauro’s Concerto for Vibraphone and Mark Glentworth’s Blues for Gilbert. The chapter one introduces the motivations, objectives, study scope, and methods of this research. The chapter two presents an introduction on the origin and development of vibraphone, continuing discussing the playing techniques of the instrument, and the background and evolution of the Jazz music style. At the end of the chapter, it is discussed the annotation about the Jazz style works in the modern vibraphone literature. The chapter three is discussed about what kinds of methods used in this study and explain the steps and the progress. The chapter four includes an analysis and interpretation of Ney Rosauro’s Concerto for Vibraphone and Mark Glentworth’s Blues for Gilbert. The chapter five concludes this research. In Ney Rosauro’s Concerto for Vibraphone, the composer used lots of Brazilian folk song and jazz harmony and rhythms as the motive to compose the music. In Mark Glentworth’s Blues for Gilbert, the composer used ‘cool jazz’ as the main method through out the whole music, combining with lots of Jazz harmony, swing pattern, and ornaments. After analysis these two works, it is discovered that because of the timbre of vibraphone is very unique and special, and the sound is very suitable for performing Jazz style music, modern composers like to use many Jazz patterns or Jazz harmonies into new vibraphone compositions. On the other hand, modern vibraphone music works not only consists of classical music compose techniques but also adds more different style and rhythms inside the music. On conclusion, the vibraphone literature nowadays becomes more and more important, and the instrument itself not only becomes a solo instrument but also takes more important role in the percussion family. Keywords : Jazz, Vibraphone