Relevant bibliographies by topics / Jazz Studies

Academic literature on the topic 'Jazz Studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Jazz Studies"

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Pond, Steven F., Ken Burns, Lynn Novick, Geoffrey C. Ward, Wynton Marsalis, Dan Morgenstern, Michael Chertok, et al. "Jazz." Ethnomusicology 46, no. 3 (2002): 552. http://dx.doi.org/10.2307/852724.

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Cox, Harvey. "Jazz and Pentecostalism / Jazz et pentecôtisme." Archives de sciences sociales des religions 84, no. 1 (1993): 181–88. http://dx.doi.org/10.3406/assr.1993.1497.

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Porter, Lewis, Dan Morgenstern, Charles Nanry, David A. Cayer, and Edward Berger. "Annual Review of Jazz Studies." Black Perspective in Music 14, no. 2 (1986): 195. http://dx.doi.org/10.2307/1214991.

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Washburne, Christopher. "Jazz Re‐Bordered: Cultural Policy in Danish Jazz." Jazz Perspectives 4, no. 2 (August 2010): 121–55. http://dx.doi.org/10.1080/17494060.2010.506042.

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Prouty, Ken. "Finding Jazz in the Jazz-As-Business Metaphor." Jazz Perspectives 7, no. 1 (April 2013): 31–55. http://dx.doi.org/10.1080/17494060.2013.825986.

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Solis, Gabriel, and David Ake. "Jazz Cultures." Ethnomusicology 47, no. 3 (2003): 392. http://dx.doi.org/10.2307/3113946.

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Farrington, Holly E. "Narrating the Jazz Life: Three Approaches to Jazz Autobiography." Popular Music and Society 29, no. 3 (July 2006): 375–86. http://dx.doi.org/10.1080/03007760600670505.

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Tucker, Mark. "Musicology and the New Jazz Studies Representing Jazz . Krin Gabbard . Jazz among the Discourses . Krin Gabbard ." Journal of the American Musicological Society 51, no. 1 (April 1998): 131–48. http://dx.doi.org/10.1525/jams.1998.51.1.03a00040.

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Moten, Fred. "Jazz." Callaloo 25, no. 1 (2002): 94. http://dx.doi.org/10.1353/cal.2002.0034.

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Menanteau Aravena, Álvaro. "¿Influencia del jazz?" Revista musical chilena 74, no. 233 (June 2020): 69–87. http://dx.doi.org/10.4067/s0716-27902020000100069.

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Dissertations / Theses on the topic "Jazz Studies"

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Hsieh, Terence. "Jazz Meets East: Cultural Dimensions of Asynchronous Jazz Music Development in Modern China." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338392142.

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Olson, Ted. "Recording Review of Jazz: The Smithsonian Anthology." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1162.

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Garlitz, Dustin Bradley. "Philosophy of new jazz : reconstructing Adorno." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002213.

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anderson, Benjamin Park. "Seeing (for) Miles: Jazz, Race, and Objects of Performance." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539623644.

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Using jazz trumpeter Miles Davis (1926-1991) as its primary example, "Seeing (for) Miles" attempts to build on a growing discourse related to the intersection of jazz, race, and visual / material culture that has heretofore largely ignored the role of consumption. Davis' numerous decisions to spend money on expensive things and/or have them custom made, insisting these things be seen by others, and overseeing his image in advertisements are a reminder that famous musicians often found themselves straddling the line between being consumers and objects of consumption. Following Davis on both sides of that line also necessitates following him on and off the stage, in the eye of his fans as well as the general public. Each of the chapters of this dissertation seek to understand how Davis negotiated this variety of viewpoints as a musician, consumer, and African American via his colored trumpets, tailored suits, sports cars, an expensive home, and instrument advertisements.;The decisions Davis and others made with regard to their positions as consumers and African Americans reflected back on a longer history of black interaction with the marketplace while positioning themselves within existing debates concerning racial equality, jazz's status as high art, and the merits of capitalism as a catalyst for democracy. at the same time, their careers as public performers, status as celebrities, and the increasing presence of the visual mass media ensured that their consumer-related decisions reached bigger and wider audiences than ever before. In such a context, the marketplace can be understood as having constituted a unique venue in which black jazz musicians performed a variety of roles relative to their musical and racial identities. Understanding the ways Davis and others negotiated this process allows us to shed light on a relatively unexplored aspect of jazz culture while also suggesting ways in which racial and musical identities continue to be impacted by visual / material culture in modern society.
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Sylvern, Craig S. "A Hypermedia Guide to Jazz Appreciation, Beginnings to Chicago /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933245538046.

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Beddok, Virgile C. "The Gems of Jazz." ScholarWorks@UNO, 2013. https://scholarworks.uno.edu/td/1714.

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The Gems of Jazz is a prospective TV series that features local New Orleans Jazz musicians. The purpose of the show, created and hosted by Virgile Beddok, is to look into the lives of the people who make the New Orleans Jazz scene all that it is, and has been. This paper delves into each stage of the creative and production processes that enabled the completion of this pilot episode which features master drummer Herlin Riley as a guest.
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Li, Mo. "A History of Jazz in China: from Yellow Music to a Jazz Revival in Beijing." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1532518802970811.

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Jones, Timothy Germain 1973. "Jazz, improvisation, and streetscapes : guidelines for in-fill development." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/67547.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning; and, (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.
Includes bibliographical references (p. 92).
How can we design in-fill buildings that are frankly new and dynamic, yet respectful and engaging of the context of the streetscape? Improvisational jazz is a form of music whose practitioners seek to integrate the familiar and the novel into a unified composition. Certain practices guide performers in achieving these dynamic syntheses of new and old. These practices may provide fresh insights into achieving such a synthesis in the streetscape. This thesis examines the elements, composition, and practices of improvisational jazz for potential application to the compositions of streetscapes, specifically the design of in-fill buildings. It analyzes analogous elements, composition, and practices in the design of the building facades, tests these ideas in an analysis of two case studies, and makes recommendations for urban design.
by Timothy Germain Jones.
S.M.
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Guerra, Stephen Paul. "Expanded Meter and Hemiola in Baden Powell's Samba-Jazz." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957326.

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Afro-Brazilian guitarist-composer Baden Powell de Aquino (1937-2000), one of Brazil's earliest and most successful international musicians, is renowned for his inexplicable rhythmic style. This is especially true in the context of instrumental samba, or samba-jazz, which emerged in the late-night music clubs of 1950s-60s Rio de Janeiro. Samba-jazz engages a set of normative expectations: (1) a theme-and-variations performance involving a (2) cyclic scheme of regular and even chord changes comprising (3) a form of often 16 or 32 bars traditionally conceived of as being in duple meter (e.g. 2/4), where (4) improvised variations track the chord changes of the form. Against this recursively even, duple-meter background, Baden's chord-melodic improvisations frequently foreground dotted or asymmetrical rhythms that, in their interaction with the duple frame, suggest uneven periodicities. This study argues that such uneven regularities can, under certain conditions, be defined as metric and as such can be treated as participating in generalized hemiolas of the background form's meter. This two-fold expansion of meter and hemiola leads to the discovery of a much larger and more variegated abstract space constituted by the even and uneven metric possibilities for a given span of musical time.

This dissertation consists in two complementary projects. The theoretical project expands current theories of meter, hemiola, and metric space, as most recently defined by Richard Cohn (2018), to incorporate Justin London's (2012) theory of non-isochronous meters. The analytical project explores the richness of Baden's rhythmic art–it's metric implications and relationship to tropes of samba-jazz.

Through an exploratory analysis of "É de lei," Chapter 1 shows why we should and how we can expand current meter theory, while introducing the reader to Baden Powell and his musical context of Brazilian samba and samba-jazz. Chapter 2 is a formal exposition of the expanded theory of meter, hemiola, and metric space. Using the language and representations of mathematical set and graph theories, it builds analogous (to Cohn 2001) analytical models of hemiola and metric space from the ground up upon an expanded and revised definition of meter that allows for both isochrony and well-formed non-isochrony. Through a series of shorter examples, including passages from "Tristeza," "A lenda do Abaeté," and "Canto de Xangô," Chapter 3 defines, contextualizes, and analyzes four of the most prevalent rhythmic tropes of samba-jazz, while building some basic familiarity with the method of the analytical model. Chapter 4 considers larger examples organized around the idea of harmonic quantization, including extended improvisations from "Samba triste," "Conversa de poeta," and "O barquinho." It seeks to understand the metric implications of how Baden in theme-and-variations form can simultaneously support the 2/4 bar-to-bar chord changes required by the harmonic form of the theme while soloing with long extensions of dotted chord-melodies. Chapters 3 and 4 gradually increase the tempo and scope of analysis–from a few bars to entire form variations. Chapter 5 analyzes an entire recording, the afro-samba "Candomblé," principally asking how metric change and hemiola influence our perception of musical form, especially in the absence of more traditional form-defining parameters.

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Chirwa, Kabelo Ufulu. "Encumbered Existence| A Three Movement Work for Jazz Orchestra." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10279545.

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Encumbered Existence is a three-movement programmatic work for jazz orchestra that uses specific events in African-American history to capture the struggle of African- Americans and emotions provoked by these events. The first movement, ?The State of the World,? and last movement, ?Between the World and Me,? capture painful events such as the shooting of Trayvon Martin. ?Between the World and Me? uses the dates of Martin?s birth and death as set classes to guide the piece. The second movement, ?The Dream,? portrays a hopeful attitude and is inspired by Dr. Martin Luther King Jr. and the ?I Have a Dream? speech. Encumbered Existence is 314 measure long. Prior to the score, an analysis of the piece provides an outline of the overall structure of the work as well as illustrations of the musical quotations used throughout the piece. The compositional decisions made during the creative process are explained by highlighting individual musical moments in the piece and then examining their correlation to the work. All inspirational material is also discussed.

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Books on the topic "Jazz Studies"

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Vernick, Gordon. Jazz history overview. 2nd ed. Dubuque, Iowa: Kendall/Hunt Pub. Co., 2007.

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SPRING/BASSETT/BERGER/MARTIN/MORGENSTERN. Annual Review of Jazz Studies 14. Lanham: Rowman & Littlefield Pub. Group, 2009.

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Hanson, Paul. Technique Studies For Jazz Bassoon Improvisation. S.I: Manzanita Ranch Music, 2003.

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Sanborn, Chase. Jazz tactics. Toronto, Ont: Jazz Tactics, 2002.

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The reluctant art: Five studies in the growth of jazz. New York: Da Capo Press, 1991.

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Solal, Martial. Méthode d'improvisation. Paris: Editions Salabert, 1998.

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name, No. Annual review of jazz studies 11, 2000-2001. New Brunswick, N.J: Transaction Books, 2003.

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Creative jazz improvisation. 3rd ed. Upper Saddle River, N.J: Prentice Hall, 2001.

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Creative jazz improvisation. 4th ed. Upper Saddle River, N.J: Pearson Prentice Hall, 2007.

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Reeves, Scott D. Creative jazz improvisation. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1995.

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Book chapters on the topic "Jazz Studies"

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Heter, T. Storm. "Jazz." In Keywords in Remix Studies, 168–77. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315516417-16.

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White, John. "Kansas City, Pendergast, and All That Jazz." In American Studies, 231–48. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21450-1_12.

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Schmid, Daniel C., and Peter A. Gloor. "“Twelve-Tone Music Reloaded”: 12 Lessons in Rotating Leadership and Organizational Development from Jazz." In Studies on Entrepreneurship, Structural Change and Industrial Dynamics, 215–25. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17238-1_13.

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Wood, Karl. "Bringing Their Baggage with Them: An Image of Americans in France ca. 1950 in Richard Yates’ Short Story A Really Good Jazz Piano." In Travel and Identity: Studies in Literature, Culture and Language, 39–50. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74021-8_4.

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Abubakar, Adamu Usman. "Using Islamic Banking to Improve Financial Inclusion in Selected States of Northern Nigeria: The Case of Jaiz Bank PLC." In Palgrave Studies in Islamic Banking, Finance, and Economics, 111–35. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39939-9_4.

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"12. Deconstructing the Jazz Tradition: The “Subjectless Subject” of New Jazz Studies." In Jazz/Not Jazz, 264–84. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951358-015.

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Johnson, Bruce. "Diasporic Jazz." In The Routledge Companion to Jazz Studies, 17–25. Routledge, 2018. http://dx.doi.org/10.4324/9781315315805-2.

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Prouty, Ken. "Jazz Education." In The Routledge Companion to Jazz Studies, 45–53. Routledge, 2018. http://dx.doi.org/10.4324/9781315315805-5.

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Doffman, Mark. "Time in Jazz." In The Routledge Companion to Jazz Studies, 163–71. Routledge, 2018. http://dx.doi.org/10.4324/9781315315805-16.

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McKay, George. "Jazz and Disability." In The Routledge Companion to Jazz Studies, 173–84. Routledge, 2018. http://dx.doi.org/10.4324/9781315315805-17.

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Conference papers on the topic "Jazz Studies"

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Margolin, Victor. "American Jazz Album Covers in the 1950s and 1960s." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0024.

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