Relevant bibliographies by topics / Humanities -> music -> jazz

Academic literature on the topic 'Humanities -> music -> jazz'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Humanities -> music -> jazz"

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Ayers, David. "Jazz: Music and Background." Journal of American Studies 27, no. 3 (December 1993): 409–15. http://dx.doi.org/10.1017/s0021875800032102.

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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, no. 3 (December 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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Scott, E. K. Ellington, and Jonas Braasch. "Computational aspects of real-time auralizations of jazz venues." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A280. http://dx.doi.org/10.1121/10.0023524.

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Historically, architectural acoustics has focused on concert halls for European Classical music, even though other genres, including rock, blues, and Jazz, have large groups of followers as well. Additionally, the acoustic requirements for European Classical music differ fundamentally from Jazz and other music. For example, Jazz venues are typically smaller and dryer than a traditional European Classical concert hall. A recent survey showed that reverberation in these venues plays a secondary role to parameters that describe the affordance of a space to allow communication between improvising musicians. This presentation focuses on the unique computational auralization aspects of Jazz venues, including wave-based approaches for smaller enclosures, low-latency requirements, intelligent accompanying systems that can adapt ad-hoc to jazz soloists, and the use of anechoic jazz recordings as source material. The adequacies of different reproduction systems, from higher-order ambisonics and wave-field synthesis to headphone-based systems, will also be discussed. [Work supported by James West Fellowship, Leo and Gabriella Beranek Scholarship, and NSF HCC-1909229.]
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Dobrota, Snježana, and Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia." British Journal of Music Education 34, no. 1 (October 25, 2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.

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The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.
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FARLEY, JEFF. "Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act." Journal of American Studies 45, no. 1 (July 19, 2010): 113–29. http://dx.doi.org/10.1017/s0021875810001271.

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Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation's most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician's individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example of both national achievement and confrontation with racism. Another important aspect of the JPA is the definition of jazz as a “high” art. While there remains a vocal contingent of critics arguing against the JPA's definitions of jazz, such results will not likely see many calling for an end to its programs, but rather a more open interpretation of what it means to be America's music.
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Scott, E. K. Ellington. "Drums speak too: An examination of modern percussion instruments in the jazz idiom." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A183. http://dx.doi.org/10.1121/10.0011036.

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Jazz has been a leading force in the evolution of music in the United States. The complexity of rhythmic and harmonic languages has grown from the birth of jazz improvisation. Modern percussion instruments played a fundamental role in the development of rhythmic language. Improvised figures between the soloist and sectionals have cultivated a vocabulary still utilized by modern drummers and percussionists today. Moreover, evolving styles matured into a more sophisticated language, demanding a more refined instrument. This presentation explores the development of modern percussion instruments within jazz and improvised music, focusing on the historical and cultural aspects impacting the evolution of percussion instruments. Investigations of stylistic approaches and influences on musical styles will also be examined.
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Wells, Christopher J. "“You Can't Dance to It”: Jazz Music and Its Choreographies of Listening." Daedalus 148, no. 2 (April 2019): 36–51. http://dx.doi.org/10.1162/daed_a_01741.

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Central to dominant jazz history narratives is a midcentury rupture where jazz transitions from popular dance music to art music. Fundamental to this trope is the idea that faster tempos and complex melodies made the music hostile to dancing bodies. However, this constructed moment of rupture masks a longer, messier process of negotiation among musicians, audiences, and institutions that restructured listening behavior within jazz spaces. Drawing from the field of dance studies, I offer the concept of “choreographies of listening” to interrogate jazz's range of socially enforced movement “scores” for audience listening practices and their ideological significance. I illustrate this concept through two case studies: hybridized dance/concert performances in the late 1930s and “off-time” bebop social dancing in the 1940s and 1950s. These case studies demonstrate that both seated and dancing listening were rhetorically significant modes of engagement with jazz music and each expressed agency within an emergent Afromodernist sensibility.
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Early, Gerald. "Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s." Daedalus 148, no. 2 (April 2019): 67–82. http://dx.doi.org/10.1162/daed_a_01743.

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In the 1970s, pianist Keith Jarrett emerged as a major albeit controversial innovator in jazz. He succeeded in making completely improvised solo piano music not only critically acclaimed as afresh way of blending classical and jazz styles but also popular, particularly with young audiences. This essay examines the moment when Jarrett became an international star, the musical and social circumstances of jazz music immediately before his arrival and how he largely unconsciously exploited those circumstances to make his success possible, and what his accomplishments meant during the 1970s for jazz audiences and for American society at large.
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Gabbard, Krin. "La La Land Is a Hit, but Is It Good for Jazz?" Daedalus 148, no. 2 (April 2019): 92–103. http://dx.doi.org/10.1162/daed_a_01745.

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The debates around La La Land (2016) tell us a great deal about the state of jazz today and perhaps even in the near future. Many critics have charged that the film has very little real jazz, while others have emphasized the racial problematics of making the white hero a devout jazz purist while characterizing the music of the one prominent African American performer (John Legend) as all glitz and tacky dance moves. And finally, there is the speech in which Seb (Ryan Gosling) blithely announces that “jazz is dead.” But the place of jazz in La La Land makes more sense if we view the film as a response to and celebration of several film musicals, including New York, New York (1977), the Fred Astaire and Ginger Rogers films, and especially Jacques Demy's The Young Girls of Rochefort (1967). Both La La Land and Demy's film connect utopian moments with jazz, and push the boundaries of the classical Hollywood musical in order to celebrate the music.
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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival." European Journal of Cultural Studies 20, no. 2 (April 27, 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.

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This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.
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Dissertations / Theses on the topic "Humanities -> music -> jazz"

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Rosenfeld, Carola. "It´s Hard to be a Saint in the City : Jazz Music and Narrative Form in Toni Morrison´s Jazz." Thesis, Sektionen för humaniora, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-15139.

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This paper deals with the novel Jazz, written by African-American writer Toni Morrison. The paper argues that the novel deconstructs itself. Also, it illustrates how the jazz music in the novel works as a deconstructing force on the characters and the narrative form. The essay begins with a chapter about deconstructive theory.  Next, there is a brief summary of jazz music – its history and features. Then, there is an analysis which focuses on how jazz music affects the characters. Last, the narrative form is investigated, for instance in terms of the narrator’s tendency to shift between various points of view.
Uppsatsen påbörjades vid Halmstad Högskola med Cecilia Björkén Nyberg som handledare, men slutfördes vid Växjö Universitet. Magisterexamen är sedan uttagen vid Högskolan i Halmstad.
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Agan, Mai. "MaiGroup - You : From composing the music to album release tour." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2375.

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Wärn, Morgan. "Ett Live-Album." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2440.

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Olsén, Oscar. "I samspel med en pianist : Ett försök att kombinera två instruments styrkor." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3031.

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This project is focusing on the interplay between guitar and piano with the goal of combining the strengths between both instruments. By experimenting with different compositional methods within strict frames combined with curiosity, the purpose is to explore new grounds. The goal is also to face the difficulties that may arise between both of the instruments. To achieve this, music has been written for a guitar and piano-duo, a trio with double bass and a quartet with drums.   The process of every composition, choice of musicians, choice of gear and the musical recital is explained in detail. The importance of having an open dialogue between the guitarist and pianist is described, as well as the rehearsal with the whole band.   In the end, a conclusion is made that despite the mentioned obstacles, the biggest difficulty was the composing. A conclusion that the project has given further knowledge of composing, as well as technical achievements as an electric and acoustic guitar player is also explained.
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Ottum, Joshua J. "Anthropogenic Moods: American Functional Music and Environmental Imaginaries." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1458123106.

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Nylander, Peter. "Pentatonik för gitarrister : en studie av gitarristers pentatoniska förkunskaper inom högre musikutbildning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2573.

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Syftet med denna studie är att undersöka gitarrlärares syn på studenters förkunskaper inom pentatonik då de börjar inom högre musikutbildning. Metoden för studien bygger på kvalitativa intervjuer av tre erfarna gitarrpedagoger med flera decennier bakom sig inom högskola och folkhögskola. Studien har sin utgångspunkt ur ett sociokulturellt perspektiv. Resultatet visar på att lärarna uppfattar att studenter besitter förkunskaper inom pentatonik men att det finns tydliga kunskapsluckor.
The purpose of this study is to investigate guitar teachers’ views on college students’ prior knowledge of the pentatonic scale. The methodology used was based on interviews with three experienced college level teachers with several decades of teaching experience behind them. The study is rooted in a socio-cultural perspective. The result shows that the teachers unanimously believe the students enter higher education with prior knowledge of the pentatonic scale. However, there is consensus that there are gaps in their knowledge.
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Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/101.

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This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of Blacks in America as the sole theme.
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Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2018. http://digitalcommons.auctr.edu/cauetds/142.

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This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme.
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Borring, Kristian. "An investigation into theories of odd meter and their application to jazz composition and improvisation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2023. https://ro.ecu.edu.au/theses/2665.

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This research examines how perception and cognition theories regarding musical meter may assist in the process of developing ‘odd meter’ practice in jazz for ‘melodic’ instrumentalists. Introduced in jazz as early as the 1950s, the integration of irregular meters into jazz practice has occurred only incrementally, as has the knowledge towards their theoretical premises. With the author acting as the intertwined composer and improviser, this study aims to develop an approach towards proliferating a ‘fluent idiolect’ to aid in obtaining clarity surrounding odd-meter types and present rhythmic and melodic strategies based on the investigation of theoretical underpinnings of meter. The ‘fluent idiolect’ refers in this context to the creation of a more holistic understanding and ability to compose and improvise in odd meters within the context of contemporary jazz practice. Meter and rhythm are often unintentionally conflated, causing some confusion in identifying what meter is. This may be particularly true in relation to irregular meters where distinctions between disparate beats acting as rhythmic ‘guide patterns’ are easily obscured or—when navigating odd-meter cycles that have identical beats—a single surface rhythmic pattern acts with more saliency than metric levels themselves. The practice-led research methodology developed for this research engaged a dynamic, iterative creative cycle that led the research through multiple stages of compositional practice, reflexive instrumental practice and audio recording while allowing for ongoing reflective analysis. This created insights into using the process of developing and internalising rhythmic and melodic concepts to complement how to distinguish metric layers and how they may be perceived in odd meters for the benefit of practice. The research contributes towards identifying different odd-meter types and how the perception and cognition theories of meter may assist jazz and other music practitioners to improve their understanding of how to approach irregular meter in composition and improvisation, while also offering a novel approach to composition. As a result of the practice-led research methodology, further contribution is provided through creative artefacts: original compositions, etudes, arrangements and studio recordings
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Sörensen, Mikael. "The Chromatic Approach : en studie i vilka påverkningsbara faktorer som visar sig genom aktionsforskning av en modern traditionsbrytande jazzimprovisationsmetod." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2490.

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Syftet med denna studie var att genom aktionsforskning undersöka vilka påverkningsbara musikpedagogiska faktorer som visar sig gällande nivåanpassning av den Amerikanska jazzsaxofonisten George Garzones jazzimprovisationsmetod The Chromatic Approach (TCA). Aktionsforskning tillämpades som vetenskaplig metod där en progressiv nivåutveckling av varje students musikaliska möjligheter till anammande av TCA utarbetades. Tre interventioner genomfördes totalt, två med en Kungl. Musikhögskolestudent och en med en Gymnasiestudent. Bakgrunden till studien ligger i vikten av att som musiker få utveckla förmågan till genrebrytande improvisation, en motverkan mot att fastna i givna och stigmatiserade musikaliska bojor som kan kväva studentens nyfikenhet och lust till utveckling av den egna unika musikaliska rösten. Studiens resultat och analys visade på utkristalliserade faktorer som under utvecklingsprocessen arbetats fram och tydliggjorts där vikten av musikpedagogiska förberedelser med nykomponerade övningar behövdes för att nivåanpassa med hänsyn till instrumentteknisk nivå och även till respektive students musikteoretiska förkunskaper. I studiens avslutande diskussion problematiseras aktionsforskningsmodellen som vetenskaplig utgångspunkt för pedagoger som genom sin forskning får dubbla roller. Pedagogen och forskaren i samma person.
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Books on the topic "Humanities -> music -> jazz"

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Giddins, Scott DeVeaux; Gary. Jazz. W. W. Norton, 2015.

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The Jazz Theory Book. Sher Music, 1995.

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The jazz piano book. Petaluma, CA: Sher Music, 1989.

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The Real Easy Ear Training Book (The Real Easy Series). Sher Music Co, 2009.

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Saito, Yoshiomi. Global Politics of Jazz in the Twentieth Century: Cultural Diplomacy and American Music. Taylor & Francis Group, 2019.

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The Latin Bass Book. Sher Music, 2005.

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Music, Sher. Latin Bass Book. Sher Music Company, 2011.

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Saito, Yoshiomi. Global Politics of Jazz in the Twentieth Century: Cultural Diplomacy and American Music. Taylor & Francis Group, 2019.

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Saito, Yoshiomi. Global Politics of Jazz in the Twentieth Century: Cultural Diplomacy and American Music. Taylor & Francis Group, 2019.

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Global Politics of Jazz in the Twentieth Century: Cultural Diplomacy and American Music. Taylor & Francis Group, 2019.

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Conference papers on the topic "Humanities -> music -> jazz"

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Kaeomak, Theerawut. "Music Composition: Lagu J-Mahmad Folk Dance for Jazz Ensemble." In – The European Conference on Arts & Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2188-1111.2023.8.

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