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Books on the topic 'Jazz research'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Kahr, Michael. Artistic Research in Jazz. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838.

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2

W, Megill David, and Gerow Maurice, eds. Jazz. 9th ed. Boston: McGraw Hill, 2001.

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3

Meadows, Eddie S. Jazz research and performance materials: A select annotated bibliography. 2nd ed. New York: Garland Pub., 1995.

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4

S, Molasky Michael, ed. Nyū jazu sutadīzu: Jazu kenkyū no arata na ryōiki e = New horizons in jazz research. Musashino-shi: Arutesu Paburisshingu, 2010.

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5

Paxton, Mike. Expanding the audience for jazz: A report of the findings from a qualitative research study. London: Arts Council of Great Britain, 1990.

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6

Improvisation, creativity, and consciousness: Jazz as integral template for music, education, and society. Albany: State University of New York Press, 2013.

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7

Meadows, Eddie S. Jazz: Research and Pedagogy. Taylor & Francis Group, 2016.

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8

Brown, Charles T. Jazz Research Papers 1985. Intl Assn of Jazz Education, 1985.

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9

Meadows, Eddie S. Jazz: Research and Pedagogy. Taylor & Francis Group, 2013.

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10

Meadows, Eddie S. Jazz: Research and Pedagogy. Taylor & Francis Group, 2013.

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11

Kahr, Michael. Artistic Research in Jazz. Taylor & Francis Group, 2021.

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12

Ros, Huxley, English Sue, South West Jazz, and Chard Festival of Women in Music., eds. Women & jazz: Research project report. Exeter: South West Jazz, 1998.

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13

Nanry, Charles. The Jazz Text. 2nd ed. Transaction Pub, 1991.

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14

The Jazz Text. Transaction Pub, 1991.

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15

Schwartz, Jeff. Free Jazz: A Research and Information Guide. Taylor & Francis Group, 2018.

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16

Schwartz, Jeff. Free Jazz: A Research and Information Guide. Taylor & Francis Group, 2018.

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17

Free Jazz: A Research and Information Guide. Taylor & Francis Group, 2018.

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18

Schwartz, Jeff. Free Jazz: A Research and Information Guide. Taylor & Francis Group, 2018.

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19

Schwartz, Jeff. Free Jazz: A Research and Information Guide. Taylor & Francis Group, 2018.

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20

Global Jazz: A Research and Information Guide. Routledge, 2021.

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21

Henry, Clarence Bernard. Global Jazz: A Research and Information Guide. Taylor & Francis Group, 2021.

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22

Henry, Clarence Bernard. Global Jazz: A Research and Information Guide. Taylor & Francis Group, 2021.

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23

Henry, Clarence Bernard. Global Jazz: A Research and Information Guide. Taylor & Francis Group, 2021.

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24

Kahr, Michael. Artistic Research in Jazz: Positions, Theories, Methods. Taylor & Francis Group, 2021.

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25

Henry, Clarence Bernard. Global Jazz: A Research and Information Guide. Routledge, 2021.

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26

Artistic Research in Jazz: Positions, Theories, Methods. Taylor & Francis Group, 2021.

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27

Kahr, Michael. Artistic Research in Jazz: Positions, Theories, Methods. Taylor & Francis Group, 2021.

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28

Meadows, Eddie S. Jazz Research and Performance Materials: A Select Annotated Bibliography, Second Edition. Taylor & Francis Group, 2023.

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29

Meadows, Eddie S. Jazz Research and Performance Materials: A Select Annotated Bibliography, Second Edition. Taylor & Francis Group, 2023.

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30

Meadows, Eddie S. Jazz Research and Performance Materials: A Select Annotated Bibliography, Second Edition. Taylor & Francis Group, 2016.

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31

Meadows, Eddie S. Jazz Research and Performance Materials: A Select Annotated Bibliography, Second Edition. Taylor & Francis Group, 2023.

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32

Jazz Scholarship and Pedagogy: A Research and Information Guide (Routledge Music Bibliographies). Routledge, 2005.

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33

Quincy Jones: A Research and Information Guide. Taylor & Francis Group, 2014.

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34

Henry, Clarence Bernard. Quincy Jones: A Research and Information Guide. Taylor & Francis Group, 2014.

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35

Henry, Clarence Bernard. Quincy Jones: A Research and Information Guide. Taylor & Francis Group, 2014.

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36

Henry, Clarence Bernard. Quincy Jones: A Research and Information Guide. Taylor & Francis Group, 2014.

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37

Henry, Clarence Bernard. Quincy Jones: A Research and Information Guide. Taylor & Francis Group, 2014.

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38

Henry, Clarence Bernard. Quincy Jones: A Research and Information Guide. Taylor & Francis Group, 2014.

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39

Jazz in America: Who's Listening? (Research Division Report : National Endowment for the Arts, No 31). Seven Locks Press, 1995.

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40

West, Chad, and Mike Titlebaum, eds. Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.001.0001.

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Teaching School Jazz: Perspectives, Principles, and Strategies is an edited collection of suggested practices in school jazz education authored by a seasoned and diverse lineup of jazz educators with supporting research-based case studies woven into the narrative. It provides not only a wealth of school jazz teaching strategies but also, and perhaps as important, the jazz perspectives and principles from which they are derived. The first part of the book describes the current landscape of school jazz education and offers an overview of basic jazz concepts through the lenses of two expert, yet very different, school jazz educators. Parts II–VI constitute the heart and soul of the book, covering a vast and comprehensive set of topics central to school jazz education. Included throughout each chapter are references and links to audio, visual, and print resources for teaching school jazz that are downloadable from a related website. This text is an invaluable resource for preservice and in-service music educators who have no prior jazz experience, as well as for those who wish to expand their knowledge of jazz performance practice and pedagogy. The book may serve as a primary text for collegiate-level jazz pedagogy courses or as a supplemental text for general instrumental methods and pedagogy classes. Chapters begin with jazz case studies and contain a wealth of jazz-specific teaching material, lists of recommended artists for listening, and visual demonstrations of each chapter’s material.

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41

Popular Music in the Era of Globalization (Research in Popular Music & Jazz). Lit Verlag, 2003.

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42

Sarath, Edward. Improvisation Creativity and Consciousness: Jazz as Integral Template for Music, Education, and Society. State University of New York Press, 2014.

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43

Sarath, Edward W. Improvisation, Creativity, and Consciousness: Jazz As Integral Template for Music, Education, and Society. State University of New York Press, 2013.

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44

Martin, Wehling, ed. Translational science in medicine: From bench to bedside. Cambridge: Cambridge University Press, 2009.

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45

MacDonald, Raymond, and Graeme Wilson. Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.007.

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Group musical improvisation is an important artistic, educational, and therapeutic process, and understanding the unique mental, individual, and social processes involved should be a key task for psychology. This chapter summarizes constraints in how some branches of psychology and ethnomusicology have conceptualized improvisation, and describes recent research embracing the breadth of what constitutes improvisation in music. Analyzing how highly diverse musicians discuss the fullest range of improvisational practices indicates important relationships between this creative interaction and wider psychological and social constructs. The chapter also presents research investigating the relationship between improvisation and health, highlighting a number of key benefits connected with improvisation in music therapy for patients with cancer. Enhancing understanding of the process and outcomes of musical improvisation in this way can help realize the potential contribution of music participation to contemporary culture, creativity in everyday life, and therapeutic interventions.

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46

Greenland, Thomas H. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0002.

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This book challenges the convenient distinction between jazz musicians and audiences by calling attention to the collaborative interactions of performers with the other “nonperforming” participants. It provides a realistic representation of jazz in New York City by taking a somewhat paradoxical and ironic approach: it examines small, specialized jazz scenes to suggest broad-based patterns of jazz participation while also deemphasizing what is happening on stage in favor of the offstage listeners—in other words, the unseen scene. This introduction provides an overview of research on the themes addressed in the book; the symbiosis and synergism that characterize New York City's jazz scene, particularly the avant-jazz scene; and the ideological debate between essentialist and universalist positions—the former emphasizing African American cultural values and the latter emphasizing multiculturalism, individual merit, and colorblindness. The book's main argument is that jazz's deeper meanings and expressions are conveyed when both artists and audiences participate in collective improvisation.

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47

Mermikides, Milton, and Eugene Feygelson. The shape of musical improvisation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0012.

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This chapter presents practitioner–researcher perspectives on shape in improvisation. A theoretical framework based in jazz improvisational pedagogy and practice is established, and employed in the analysis of examples from both jazz and classical-period repertoire. The chapter is laid out in five sections. The first section provides a brief overview of improvisational research, while the second discusses the concept of improvisation as ‘chains-of-thought’ (a logical narrative established through the repetition and transformation of musical objects). The third reflects upon improvisation as the limitation and variation of a changing set of musical parameters. Using this concept, the fourth section builds a theoretical model of improvisation as navigation through multidimensional musical space (M-Space). The final section uses this model in a detailed analysis of the nineteenth-century violinist Hubert Léonard’s cadenza for Beethoven’s Violin Concerto Op. 61.

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48

Nettl, Bruno. Landmarks in the Study of Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.009.

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Historically, research on improvisation has been related to the discovery of non-Western musics, folk music, and jazz, and has depended on the development of recording techniques for its principal kinds of data. The concept of improvisation is not unitary, but includes many vastly different kinds of un-notated music-making, which casts some doubt on the efficacy of the term itself. In the history of Western art music, improvisation was originally ignored or seen as craft rather than art, but since ca. 1980 it has occupied increased attention. The association of improvisation with oral transmission has sometimes been misunderstood. The most successful standard research study has been the comparison of performances based on a single model, for example, raga in India, maqam and dastgah in the Middle East, or a series of chord changes or a tune in jazz. Improvisation as a concept—for example, as a metaphor of freedom—has been important in recent research.

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49

Martin, Henry. Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.001.0001.

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Charlie Parker, Composer is the first assessment of a major jazz composer’s oeuvre in its entirety. Providing analytical discussion of each of Parker’s works, this study combines music-theoretical, historical, and philosophical perspectives. A variety of analytical techniques are brought to bear on Parker’s compositions, including application of a revised Schenkerian approach to the music that was developed through the author’s prior publications. After a review of Parker’s life emphasizing his musical training and involvement in composition, the book proceeds by considering the types of Parker pieces as categorized by overall form and harmony and the amount of preplanned music they contain. The historical circumstances of each piece are reviewed, and, in some cases, sources of the ideas of the most important tunes are explored. The introduction includes a discussion of the ontology of a jazz composition. The view is advanced that the Western concept of a music composition needs to be expanded to embrace practices typical of jazz composition and forming a significant part of Parker’s work. While focusing on Parker’s more conventional tunes, the book also considers his large-scale melodic formulas. Two formulas in particular are arguably compositional, since they are extensive and sometimes appear in subsequent improvisations. As part of the research for this book, all of Parker’s copyright submissions to the Library of Congress were examined and photographed. The book reproduces the four of them that were copied by Parker himself.

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50

Gilmour, Michael J., ed. Call Me the Seeker. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781501383335.

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-One of very few books on religion and popular music -Covers a wide range of musical styles, from heavy metal and rap to country, jazz and Broadway musicals -The essays are written by academics and informed by their enthusiasm for the music Many books have explored the relationship between religion and film, but few have yet examined the significance of religion to popular music. Call Me The Seeker steps into that gap. Michael Gilmour’s introductory essay gives a state-of-the-discipline overview of research in the area. He argues that popular songs frequently draw from and “interpret” themes found in the conceptual and linguistic worlds of the major religions and reveal underlying attitudes in those who compose and consume them. He says these “texts” deserve more serious study. The essays in the book start an on-going conversation in this area, bringing a variety of methodologies to bear on selected artists and topics. Musical styles covered range from heavy metal and rap to country, jazz, and Broadway musicals.

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