Dissertations / Theses: '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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Heller, Michael C. "Reconstructing We: History, Memory and Politics in a Loft Jazz Archive." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10328.

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This dissertation examines a recently discovered archive of films, recordings, photographs and documents relating to the New York jazz lofts of the 1970s. The work not only reconstructs historical details about the lofts, but also explores the significance of the archival project itself, an independent venture founded in 2005 by musician and former loft organizer Juma Sultan. By combining historical research in the Sultan archive and ethnographic engagement with former loft artists, the study examines the continued symbolic significance of the loft era for musicians, listeners and historians. The jazz lofts were independently owned, musician-run spaces in lower Manhattan that served as performance venues, rehearsal halls, living quarters, classrooms and in a variety of other functions. Their emergence is best considered as part of a widespread, politically informed impetus among musicians of the period to organize their own concerts and collective organizations. While the activities shared many similarities with other artist-organized groups emerging in Chicago, St. Louis and elsewhere, the lofts’ independence and lack of a central organizing body led to a more diffuse set of activities than manifested in other cities. The dissertation is structured around two primary goals. First, through archival study and ethnographic engagement, the text traces the musical and social significance of the loft period. Following a basic historical chapter, two thematic discourses are examined at length. The first deals with multivalent forms of freedom envisioned by artists, while the second explores ways that participants conceptualized community and social cohesion. The choice of these discourses is informed by descriptions offered in ethnographic interviews with former loft artists. Second, the research considers the role of the archive itself in the re/construction of historical discourses. A notable self-archiving impulse emerged among jazz artists during the years under study, resulting in thousands of amateur recordings in dozens of private collections. Using the Sultan Archive as the primary case study, the dissertation argues that this self-archiving impulse acts as an artist-initiated intervention into historiographic processes that mirrors the musician-organized ethos of the lofts themselves.
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Pyper, Brett. ""You can't listen alone"| Jazz, listening and sociality in a transitioning South Africa." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3614893.

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This is a study of contemporary jazz culture in post-apartheid South Africa. It demonstrates that the significance of jazz can productively be understood from the perspective of listeners, complementing the necessary attention that has historically been afforded to the creators and performers of the music. It describes the rich social life that has emerged around the collecting and sharing of jazz recordings by associations of listeners in this country. In these social contexts, a semi-public culture of listening has been created, it is argued, that is distinct from the formal jazz recording, broadcast and festival sectors, and extends across various social, cultural, linguistic and related boundaries to constitute a vibrant dimension of vernacular musical life. South African jazz appreciation societies illustrate that collecting may be a global phenomenon but that recordings can take on quite particular social lives in specific times and places, and that the extension of consumer capitalism to places like South Africa does not always automatically involve the same kinds of possessive individualism that they do in other settings, and might even serve as a catalyst for new forms of creativity. The study demonstrates, moreover, that what is casually referred to as "the jazz public" is an internally variegated and often enduringly segregated constellation of scenes, several of which remain quite intimate and, indeed, beyond the view of the "general public." The study foregrounds how one specific dimension of jazz culture – the modes of sociability with which the music has become associated among its listening devotees – can assume decidedly local forms and resonances, becoming part of the country's jazz heritage in its own right and throwing into relief the potential breadth, range and contrasts in the ways that jazz writ large can be figured and recontextualised as it is vernacularized around the world. The study recognizes the significant role that jazz appreciation societies play in creating culturally resonant grassroots social settings for this music, documents and analyses the creativity with which they do so, and considers the broader implications of their contribution to the musical elaboration of public space in contemporary South Africa.

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Simuro, Valerie T. "A Woman's Place in Jazz in the 21st Century." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7363.

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Women often harbor ingrained attitudes that restrain them from achieving a successful career. They retain deep-seated attitudes that confine them to a self-defined space based on internalized patriarchal standards. Some women do achieve success in spite of the challenges they face. Esperanza Spalding, a young, African-American woman jazz instrumentalist is one such success story. She defies convention, plays an unconventional musical instrument in a musical genre that is historically deemed a masculine world. My thesis discusses the difficult path she traverses between feminist ideals and commercial success. It discusses what characteristics of femininity she chooses to display. Some intentional, some based on ingrained stereotypical standards set by society. Like wearing a gown to perform at the White House. It seems a normal standard of dress for a female in the West for such an occasion but it is based on a standard of what is appropriate dress for a man and for a woman. It is based on binary gender roles created by a patriarchal system. Esperanza was relatively unknown by the general public before she beat out Justin Bieber to win the 2011 Grammy for Best New Artist, yet she had already released three solo albums and was highly regarded by both critics and her jazz peers. Although extremely talented, it was not until her performance persona was molded by her management company that she became famous. The music industry and her management team are mostly controlled by men. Her mentors were mostly men. The male ideal of femininity is reinforced by the music industry, mass media, and in some cases, women themselves. Frequently, a female instrumentalist who plays the upright bass, a seemingly masculine instrument, is perceived as a novelty, but Spalding transcends that patriarchal ideology. She successfully negotiates the chauvinistic world of jazz. This paper explores Spalding’s performance through the lens of feminine consciousness as described by Sandra Bartky, and discusses the social construction of a female jazz instrumentalist’s identity based on Judith Butler’s theory of performativity. While this paper classifies a musician as female or male, which implies that they are each a separate and distinct category, it does not discount that each gender may possess qualities of the other. Chapter two discusses elements of Esperanza’s physical appearance which embrace feminine ideals and simultaneously fight against them. She uses make-up to enhance her appearance, she wears clothes that adhere to a double standard, yet she defies the white ideal of femininity with her afro hairstyle and callused hands and blunt nails. Spalding is a dedicated professional. Her appearance is important to her livelihood. Feeling good about oneself instills self-confidence to engage with the audience. The patriarchal point of view is so ingrained in a woman’s subconscious, reinforced in the media and in marketing that women often dress with the visualization of the gaze of the ‘Other,’ which reinforces gendered significations. Signifiers of femininity are not only characterized by physical attributes, but also by elements of sound, body movements, occupied space, and appurtenant objects that historically represent a masculine or feminine frame of reference. Chapter Three discusses how Esperanza Spalding’s music tends to resist society’s views of gender roles. Jazz musicians, in particular, construct a distinctive role or persona based on the conventions of the genre, the marketing strategies of the music industry, and the individual talents of the artist. [rock star and jazz]. Spalding, as band leader, occupies center stage. Standing center stage in the spotlight leading the band on an upright bass is a seemingly aggressive, masculine position. Spalding challenges gender appropriate norms and expectations and embodies a strong, confident band leader, yet not with the negative effects of the Double Bind. Two aspects of the jazz musician is their stance and their ability to improvise. Spalding’s stance communicates to the audience her competence and leadership ability without sexual innuendo. Her improvisational style communicates her musical talents. It is traditionally viewed as a masculine skill and a competitive exercise but Spalding’s display is not aggressive and competitive. She uses her creative musical talent to carry on a musical conversation. Improvisation is creation of music in the moment. Spalding exhibits courage and a willingness to take a risk which are perceived historically as masculine traits. Spalding provides an individualized path to femininity. Women tend not to pursue paths that are not already fully occupied by women. Spalding is doing some remarkable things in terms of a woman in a male-dominated field. Spalding challenges socially constructed gender roles and serves as a role model for future generations.

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Baumgartner, Amy C. "Gershwin's Fascinating Rhythm: The Rise of the Jazz Musical." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/684.

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The shift in the American economic viewpoint before and after World War I left an indelible mark on the arts, allowing the only indigenous music to arise, jazz. In the transitory period following the war, it was George Gershwin who paved the way for jazz to become America's only indigenous music. Yet, the current definition of jazz is so racially polarized that it has lost focus on the music. This work explores George Gershwin's role in creating a jazz culture in a xenophobic country and argues for an inclusive definition of jazz, one based on the music itself.

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Archibald, Paul. "Construction of, and performance on, the early drum kit." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/29632.

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For over one hundred years the drum kit has been a driving force in shaping popular music, yet in popular culture the kit is not taken as seriously as other instruments, with drummer jokes abound. This hierarchy is reflected across academia and music literature, where the drum kit is least discussed amongst other instruments commonly found in popular music. Looking within the context of early jazz—one of the first styles of music the drum kit helped shape—historians and publishers were keen to ensure leading horn players told their story, while the drummers, who rarely secured similar levels of fame or recognition, had comparatively little chance to record their story. Detailed histories of the instrument are therefore scarce, incomplete, or riddled with inaccuracies and misunderstandings. This thesis presents a clear and detailed history of the instrument, from its beginnings to its early form in the mid 1930s. I then examine how the early drum kit was represented at the time through recordings, one of the most important methods of documenting how this instrument was used. Finally, I investigate how drummers performing on early drum kits today approach their playing, and how they deal with the problems identified in this thesis. In doing so I used optical character recognition (OCR) on digital archives, newspapers, interviews, magazines, catalogues and photographs from the early twentieth century, much of which has only become available in the past few years. Using these primary sources, I have constructed a reliable history and have unearthed new sources that shed light on the history and development of the instrument. Furthermore, through my own experiences and interviews of current early drum kit players, I have shown how this instrument in its early form is played, and how it differs from the instrument we know today.

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Gamedze, Asher. "It’s in the out sides: An investigation into the cosmological contexts of South African jazz." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30526.

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This dissertation is an exploration of some of the philosophical thought and spiritual practices which constitute and are present and represented in and through certain instances of South African jazz. Amilcar Cabral’s revolutionary thought on liberation culture, which allows for thinking the radical impulse of cultural production, forms the foundation of the dynamic frame which we use to hear and think through the music’s content and the context by which it is composed. Through an engagement with the thought and music of the following artists - the Blue Notes, Miriam Makeba, Malombo, Nduduzo Makhathini, Zim Ngqawana, and a few others - we find ourselves in the presence of a liberatory tradition rooted in the cosmological worlds of Southern African people. Musical and spiritual practices of sangomas, the frequency of the maternal, medicinal relationships with plants and the land, and the communion and communication with ancestors are all channels of South African jazz. And the spirit of liberation that emerges in the music is situated in and dances through an encounter between these practices and aesthetics of the Black radical tradition. I provoke and elaborate on this encounter, considering the ambivalent, sometimes invisible, place of Africa in that tradition. Africa’s epistemological absence in much of the Black radical tradition, beyond minor essentialised and, at times, romanticised notions of an irretrievable source, a point of origin, or a site generally relegated to the past, is mirrored by the possibility of a productive synthesis which is improvised through the music. Moving with and for the music, listening to its critique of much of the writing about it and what that writing misses, I make the claim for jazz as a cosmologically-rooted African art form, forming part of a broader liberatory tradition which needs to be heard in relation to the spiritual and philosophical traditions which it extends.

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Fischer, Louis W. "A comparison of jazz studies curricula in master's programs in the United States." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164924.

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The purpose of this study was to compare and review curricular offerings in selected institutions in the United States that presently are identified as offering (a) formal degree(s) in jazz studies to music majors at the master's degree level.This writer has identified: common areas of study, similarities in jazz studies departmental core requirements, and school of music core requirements, ensemble participation required of students, ensembles available to students, and areas unique to a particular curricula. One hundred percent of the institutions surveyed were members of the National Association of Schools of Music (NASM). The review of related literature includes general guidelines and principles as published by NASM pertaining to specific master's degrees in jazz studies.A secondary goal was to identify elements relating to the academic and professional background of the jazz studies directors, and the collective graduate jazz faculty as a unit.A third goal was to establish a composite sketch of the typical graduate jazz program and curriculum in the United States.Using the process of content analysis, various university catalogs and graduate handbooks were reviewed. Additionally, questionnaires completed by the directors of jazz studies programs from twenty-three universities were examined. The questionnaire asked respondents to identify their professional and academic background, in addition to estimating information regarding the academic and professional backgrounds of the collective graduate jazz faculty. Professional experience questions related to recording dates, concerts, touring, casual dates, and show experience. Academic background questions related to degrees held, when and where they were earned, continuing education practices, and publishing background. Respondents were asked to provide institutional demographics and philosophies in relation to existing curricula, and various institutional policies regarding the jazz studies department and the prioritization of course work and essential skills. Further, respondents were asked to give statistical information regarding the age of various programs within the curriculum, student population, library holdings, ensemble availability, performance and touring practices, type of literature performed, graduate assistants, administrative support, and guest artist budgets. Data were presented in combination narrative and outline form. Tables were utilized whenever appropriate.
School of Music

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Goecke, Norman Michael. "What is "Jazz Theory" Today? Its Cultural Dynamics and Conceptualization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1395668797.

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McRae, Chris. "Hearing Miles Davis: A Pedagogy of Autobiographical Performance and Jazz." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/358.

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This dissertation argues for a relational ethic of listening that emphasizes the pedagogical role of the listener as a student in dialogically hearing, producing, and responding to the other. This ethic of listening works to hear possibilities amongst differences, and to ethically account for and learn from the cultural, historical, and embodied differences of the other as they are produced relationally amongst macro-structures and micro-practices. In order to develop this ethic of listening, I pay specific attention to my solo autobiographical performance, Miles away from "The Cool," in which I present my autobiographical and musical reading of the autobiography of trumpet player Miles Davis, Miles. This performance and my research regarding the music, life story, and cultural significance of Davis functions as an example for my development of a listening centered approach to pedagogy. Listening to jazz and the music of Davis provides an approach to hearing possibilities as they are enabled and constrained by larger macro-structures and specific micro-practices. I argue this approach to listening can be extended to research regarding autobiography and geographic location. Listening to autobiography and location can enable a critical and ethical understanding of the ways history, context, and power play on bodies in jazz, autobiography, location and autobiographical performance. After explaining this relational ethic of listening in terms of autobiography and jazz, I make the case for listening as a performative act in which as listeners we are always students to the other. Performative listening is a critical communicative act that works to ethically and pedagogically hear and learn from the other. Performative listening emerges from a relational ethic of listening, and it is a productive pleasure that works to hear possibilities in and amongst differences.

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McKenzie, Daryl, and dmck@netspace net au. "Arranging and Orchestration methods:a model text for post secondary courses." RMIT University. Education, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081029.145347.

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Through the researcher's experience and informal discussions with other pedagogues working in tertiary music environments, the researcher was of the opinion that there is currently not a comprehensive arranging/orchestration method book that could be used exclusively as a course text in post-secondary arranging courses. While there are numerous published method books available, they are generally produced in North America and do not address all the needs of an arranging/orchestration course. The aim of the research was to find what are the constituent parts and theoretical underpinnings of a model Arranging course text book. Also, to find what materials are currently being used by lecturers and teachers throughout Australasian universities, colleges and other institutions for the delivery of arranging (and/or orchestration) courses, and if these materials differ from those used in North America. Of interest are the assumptions made in the background knowledge of the students entering these courses from upper-secondary level or otherwise and if this project can assist students making the transition. Finally, is there potential to have a standard text published in Australia, what are the important elements that should be included, and is it possible to deliver such a text as an online document? The research showed that most teachers and lecturers in post-secondary school music courses teaching arranging/orchestration use extracts from several books and link them together, filling in the gaps, with their own methodologies and experiences. The problem with this approach is the resultant lack of uniformity through the various sections of the course; in particular the musical examples used and the availability of audio recordings of the examples. Some older published texts, while valuable in their content, do not supply audio recordings. Most texts investigated that do supply audio recordings only demonstrate good arranging/orchestration techniques and fail to compare the same example conceived through poor technique. This study revealed some important findings about the lack of a course method book existing that met the needs of educators delivering post-secondary courses in arranging. The key elements of such a course book were identified through research and then written into a model text (the project) with accompanying CD audio examples. Upon gaining valuable insights and completing the project, there was some scope for improving, extending (or changing delivery method) and publishing the project.

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Modeste, Jacquelynne Jones. "The blues and jazz in Albert Murray's fiction: A study in the tradition of stylization." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623458.

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The use of the blues as a critical theory and as a literary model for the crafting of fiction opens new possibilities for both intellectual and artistic exploration. Reflecting the power of human agency amidst antagonism, the blues is the music of personal triumph over the brutality of circumstances despite any change in condition. The music's emphasis on improvisation reveals human agency because through instrumentation, singing, stylistic nuances, audience participation and/or venue individuals transform perceived or imagined woefulness into hopefulness. Studying the blues and its cultural legacy is significant in identifying the mechanisms by which individuals and ultimately entire communities sustain themselves. The literature that uses the blues as an aesthetic guide demonstrates variety of experience, human agency, and an individual crafting of identity in relation to group identity.;Albert Murray's Scooter series, Train Whistle Guitar (1974), The Spyglass Tree (1991) and The Seven League Boots (1995), lends insight into the ways in which the blues contributes to the writing of fiction. Initially set in the 1920s and 30s Jim Crow U.S. South, the series follows Scooter through maturity into the 1960s. Scooter is reared in the blues tradition; its history is his life. Music abounds, living conditions are harsh but his community exudes vitality that parallels the music. The blues is intrinsically linked with heroic activity because it demonstrates the ways in which personal agency transforms actual or perceived limitations.;In Murray's blues-based series, a modeling of jazz is the logical outcome of Scooter's characterization because jazz resonates with ingenuity and variety while being rooted in African American culture. This study analyzes Scooter's maturity as it parallels the development of the blues through the country blues (Train Whistle Guitar), classic blues to jazz during Scooter's college years (The Spyglass Tree), and the smoothness of style consistent with swing-style jazz during Scooter's mature adulthood (The Seven League Boots). Scooter's characterization will be considered in conjunction with Thomas Malory's, Arthur in Le Morte D'Arthur (1485); Ralph Ellison's protagonist in Invisible Man (1952); and Richard Wright's Bigger Thomas in Native Son (1940).

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Leal, Jonathan J. "Across Borders and Barlines: Chicana/o Literature, Jazz Improvisation, and Contrapuntal Solidarity." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500033/.

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In this study, I examine Chicana/o writings and Black and Brown musical traditions as they entwine in urban centers and inform local visions of inclusion and models of social change. By analyzing literature and music from South Texas, Southern California, and Northeastern Michigan, I detail how the social particularities of each zone inform Chicana/o cultural productions rooted in the promise of empowerment and the possibility of cross-cultural solidarity. I assert that highlighting localized variations on these themes amplifies contrapuntal solidarities specific to each region, the relationship between different, locally conceived conceptions of Chicana/o identity, and the interplay between Brown and Black aesthetic practices in urban centers near national borders. Through literary critical and ethnomusicological frameworks, I engage the rhetorical patterns that link poetry, jazz improvisation, essays, musical playlists, and corridos to illumine a web of discourses helping to establish the idiosyncratic yet complimentary cultural mores that shape localized social imaginaries in the United States.

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Ek, Jonny. "Transkribering som metod för konstnärlig utveckling." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3044.

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By transcribing songs from the standard repertoire, and some selected jazz musicians' improvised solos over these songs, I have studied how transcribing affects my own artistic expression. Some of the musicians I have been inspired by are Barry Harris, Paul Chambers and Oscar Peterson. The songs I’ve chosen come from the standard jazz repertoire of the 1940's and 50's. The question in this work was whether it was possible to derive my own playing and improvising at my degree concert from the material I had studied during the course of this project. The idea for this project came from my interest in transcribing as a method for developing my artistic expression as a jazz pianist. Furthermore, I had grown tired of using some commonly used sources of sheet music and chord progressions, such as the mobile application iReal or various fake books containing jazz standards, like the well known Real Book. The song sketches these contain can in some cases give a very misleading picture of the original versions of the songs. First, I did a transcription of an early version of each song, to use as a reference point. Then, I transcribed solos by the selected musicians, as well as parts of my own solos recorded at both the very beginning of the project and at my degree concert. I then analyzed the transcriptions regarding phrasing, tone material and sound. In the process of transcribing solos, I have tried to mimic the original recording as much as possible. Various tools were used, such as mobile applications, to make loops and change the tempo to help with transcribing. By going back to transcribing early versions of jazz standards, I hope to have gained an increased understanding of the jazz genre that I love to play and listen to. Working with transcribing has also made me reflect on the piano from a historical perspective. In this text, I discuss the challenge of staying neutral to the transcribed material during the degree concert. Did I play phrases because they were part of my vocabulary or because I remembered them from the transcriptions? I further discuss the issue of the time limit of the project, which made it difficult to assess the results of the work. Transcribing my own solos has been very rewarding. It has helped me to concretize what I want to practice. For example, through transcribing I recognize how limited I am in certain keys compared to others. In addition to some specific phrases, much of Barry Harris's overall playing has been integrated into my own, and he is also the musician who have had the greatest impact on my own style of playing, of the three I’ve studied for this project.

Medverkande musiker:

Jonny Ek - Piano

Jonathan Leidecker - Trummor

Tomas Sjödell - Kontrabas

Repertoar:

A Weaver Of Dreams (John Elliot, Victor Young)

I Can't Give You Anything But Love (Jimmy McHugh, Dorothy Fields)

Almost Like Being In Love (Frederick Loewe, Alan Jay Lerner)

The Very Thought Of You (Ray Noble)

East Of The Sun (Brooks Bowman)

My Foolish Heart (Victor Young, Ned Washington)

I'll Remember April (Gene de Paul, Patricia Johnston, Don Raye)

Nobody Else But Me (Jerome Kern, Oscar Hammerstein)

The Song Is You (Jerome Kern, Oscar Hammerstein)

Georgia On My Mind (Hoagy Carmichael, Stuart Gorell)

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Sjödell, Tomas. "En resa i komposition." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3046.

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In this essay Tomas Sjödell describes the process of composing and arranging music using different instruments such as upright bass, piano, guitar and computer. He looks into how the different instruments will effect the compositions and how it will affect him as a bassplayer. He describes the process of choosing musicians, studying influences, composing the music using the different instruments, rehearsing with the ensemble and what he had to work on as a bassplayer to be able to play the music. Tomas conclusion of the project is that the different instruments did affect the compositions in small ways but his on voice as a composer was always there. He also describes his development as a composer and bassplayer and how he will work with similiar projects in the future.

Kompositioner:

Take A Peek - Tomas Sjödell

Ellie - Tomas Sjödell

The Last Of Us - Tomas Sjödell

Day After Tomorrow - Tomas Sjödell

When The Sky Turns Grey- Tomas Sjödell

Musiker:

Tomas Sjödell - Kontrabas

Hannes N. Bennich - Saxofon

Erik Tengholm - Trumpet

Björn Eriksson - Piano

Jonathan Leidecker - Trummor

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Bergman, Byström Malte. "Basist, kompositör och bandledare." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3099.

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During this project Malte has explored composition and musical leadership within an ensemble as well as his own role as a bass player. He aimed to investigate how the addition of vocals to the ensemble would impact his bass playing and compositions. The compositions were based on his main musical influences and he collaborated with the vocalist Joanné Nugas during the composition process. The method of composing each song is described in the middle of the essay. After being rehearsed the compositions were performed at a concert at Kungliga Musikhögskolan. The concert was recorded which, after listening to, Malte reflects about the concert in the end.

Musiker:

Malte Bergman Byström- elbas, synt

Joanné Nugas-sång

Axel Berntzon-trumpet

Lars Ullberg-trombon

Oskar Nilsson-gitarr

Mikael Wilhelmsson-klaviatur

Noa Svensson-trumset

Gabriel Dahl-kontrabas

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Gräns, Tobhias. "Examen på distans." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2732.

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Allting har spelats in och filmats i en lokal i Mjölby. Arbetet består av olika transkriptioner av trumsolon från Max Roach och Matt Wilson.

"Wee See" - Musik: Thelonious Monk. (Matt Wilson drumsolo)

"Alone Together" - Musik: Arthur Schwartz. Text: Howard Dietz. (Matt Wilson)

"Stompin' At The Savoy" - Musik: Edgar Sampson. (Max Roach drumsolo)

"Mop Mop" - Max Roach. (Max Roach drumsolo)

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Reed, Chelsea Clarke. "Locating Philadelphia Jazz: The Intersections of Place, Sound, and Story in the Classroom." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/493556.

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History
M.A.
This study explores a place based pedagogy of Philadelphia jazz history for K-12 students. While many intersections exist between place based programming and jazz public history both nationally and locally, the Philadelphia jazz public history community does not focus on educational programming. Though centered in Philadelphia, this study includes educational materials and field research for both formal and informal educators to increase critical, interdisciplinary African American musical history content in the classroom. The lesson plans found within exemplify a cross section of social studies educational literature, the history of African American narratives in Philadelphia schools, and place based jazz history in the city.
Temple University--Theses

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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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Day, Michael Dennis. "An assessment of selected factors contributing to the success of high quality college jazz studies programs." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185890.

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The purpose of this study was to determine what differences distinguish "quality jazz programs" from "other" programs and what might be learned from a comparison of the two groups that would be meaningful to jazz education. The study answered the questions: (1) is there a consensus among a group of jazz authorities regarding the ten "most effective" jazz programs in colleges and universities; and (2) are there characteristics of jazz programs considered outstanding by the profession that are not present in randomly selected college jazz programs? A panel of "experts" identified the top thirteen college jazz studies programs. A random group was selected from a list provided by the International Association of Jazz Educators. The "outstanding" population (n = 13) and the random population (n = 34) were sent identical survey instruments. The analysis of data identified significant differences between groups: (1) in the number of staff at every level (full-time faculty, adjunct faculty, and teaching assistants); (2) in the number of big bands, combos, and jazz choirs; and (3) in the number of undergraduate and graduate music majors in the institution. There was a significant difference between groups in the number of jazz combos and within the outstanding population between big bands and combos. Also, outstanding schools were more likely than the "other" schools to: (1) employ full-time jazz faculty; (2) have a vocal jazz program; (3) have an organized plan for recruiting and award jazz scholarships; (4) be located in larger urban areas with more opportunities for students to hear jazz; (5) offer a jazz studies degree; (6) offer a greater variety of jazz courses; (7) have a recording studio on campus; and (8) have a jazz requirement for music education students. Enrollments in jazz courses were increasing in both populations.

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Calkins, Susan Lee. "A history of Jazz Studies at New England Conservatory, 1969-2009: the legacy of Gunther Schuller." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12306.

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Thesis (D.M.A.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
Over the first half of the twentieth century, the jazz rose from its modest beginnings as a trenchantly African-American style of folk music, to assume a place of cultural noteworthiness. The field of jazz education has evolved significantly since the mid twentieth century and jazz studies programs have been established in many colleges and schools around the world. Music educators have continued to face the challenge of how to preserve the stylistic foundations of jazz while approaching it, pedagogically, as an evolving art form that extends beyond its African-American origins. A wide variety of issues concerning jazz education and the integration of emerging musical styles in educational institutions have been studied, yet very little research of a historical nature has been conducted so far to address these topics. This study presents a historical examination of the Jazz Studies program at New England Conservatory of Music, including events leading up to its 1969 inception and its development through 2009. Topics of inquiry included: Gunther Schuller's vision of jazz education and what led him to incorporate jazz at NEC; actions leading to the establishment of the Jazz Studies degree program; the structures, curriculum and goals of the program and how they changed over time; and how the jazz program has influenced or been influenced by the institution as a whole. The researcher was informed by data from interviews of students, faculty and administrators and archival data from a variety of sources. Interview subjects included Gunther Schuller, students and faculty who participated in the Jazz Studies program. Archival data was abstracted from NEC documents including Executive Committee and Faculty Council meeting minutes, concert programs, school catalogues, and correspondences located in the NEC archives in addition to other published articles. By revealing the successes and the pitfalls of Gunther Schuller's initiatives and investigating the key figures, processes, and actions that facilitated the establishment of a degree program in Jazz Studies at NEC, this study serves as a historical example. It may also serve to illuminate potential challenges and issues that will surface as new developments in the musical arts create demands for further innovations in post-secondary music education.

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Ramnunan, Karendra Devroop. "The occupational aspirations and expectations of students majoring in jazz studies at the University of North Texas." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/ramnunan%5Fkarendra/index.htm.

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Karkkonen, Sara. "Kvalitet och gatekeeping inom den svenska jazzbranschen : En fallstudie om två jazzklubbsproducenters syn på kvalitet, genus och sitt eget ansvar för ökad jämställdhet." Thesis, Stockholms universitet, Genusvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-172730.

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Goecke, Norman Michael. "What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.

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Steinberg, Ella Nora Parks. "“Take a solo”: An analysis of gender participation and interaction at school jazz festivals." Scholarly Commons, 2001. https://scholarlycommons.pacific.edu/uop_etds/2469.

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This study documented participation at school jazz festivals according to gender and instrument and explored interaction patterns between clinicians and students to determine if participation patterns in jazz education resemble those in math and science, where females have been found to be underrepresented in high-level courses. This study analyzed data collected at two middle and high school jazz festivals with male and female students participating in stage performances and in post-performance clinics. Out of a total student population of 556 performers, males were found to represent a disproportionate percentage of the population (males = 70% and females = 30%). Significantly more males were found on all instruments, with the exception of piano, where females represented the majority (male pianists = 42.5% and female pianists = 57.5%). Solo patterns revealed that even though there were more female pianists, male pianists were featured as a soloist a total of 17 times, in contrast to 5 total solos for female pianists. Categorical data from solo patterns for all instruments showed that males were featured significantly more often as a soloist on saxophone and piano. Given the research on sex-stereotyping of instruments, where saxophone and piano are considered as less “masculine” instruments, this research noted that no significant difference in solo patterns were found between males and females who perform on the more “masculine” instruments (trumpet, trombone, drums, and bass). Overall, males did solo significantly more often than girls, based on the proportion of boys to girls in the total sample. Interaction analysis, using a modification of the INTERSECT observation form utilized by researchers Sadker & Sadker, of post-performance clinics found that males dominated all interactions. Males raised their hands more often, were called on and called-out more often and were asked to play at a higher rate than female performers. Results suggest that jazz education might benefit from intervention strategies similar to those implemented in math and science education to narrow the participation and interaction gap between males and females.

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Stiegler, Morgen Leigh. "African Experience on American Shores: Influence of Native American Contact on the Development of Jazz." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1244856703.

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36

Ekström, Moa. "Föräldrarnas fasa : Historisk studie om gestaltningen av ungdomskulturer i fyra svenska tidningar." Thesis, Södertörns högskola, Journalistik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-44686.

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I 1920-talets Sverige gjorde jazzen sitt officiella intåg. Genren och framförallt livsstilen lockade till sig många ungdomliga anhängare samtidigt som deras föräldrar och media stod på sidan om och förfasades över deras sätt att bete sig och hur de klädde sig. Jazzen höll sig kvar och utvecklades till Swing och Sverige fick sin första tonårsidol i form av 16-åriga Alice Babs. Nästa våg av ungdomskultur kom på 1950-talet i form av rocken som i likhet med sin släkting jazz också härstammade från afro-amerikansk kultur. Den traditionella rocken utvecklades sedan på 1960-talet till någonting som lät hårdare och råare, nämligen hårdrock. År 1976 hade den amerikanska hårdrocksgruppen Kiss sin första spelning i Sverige på nöjesfältet Gröna Lund i Stockholm. Tonåringar över hela landet flockades för att se den nya supergruppen. Kiss blev däremot inte lika välkomnande i media som menade att gruppen uppmuntrade sina fans att leka våldslekar på rasterna. I mitten av 1980-talet och början av 1990-talet introducerades närmast följandeungdomskultur, hip-hoppen som likt rocken och jazzen härstammande från afro-amerikansk kultur. 1994 debuterade en av de första kända hip-hopp grupperna i Sverige, Latin Kings med albumet Välkommen till förorten. Albumet väckte stor uppmärksamhet i media och journalister reste ut till främst Stockholms förorter för att intervjua gruppens fans om den nyahippa ungdomskulturen och huruvida texterna innehöll någon sanning eller inte. Uppsatsen som genomförts är en kvalitativ massmedieretorisk analys vars syfte är att svara på frågeställningen hur ungdomsfenomen har gestaltats i fyra svenska tidningar utifrån tre historiska ungdomsfenomen. Tidningarna som analysen har utgått ifrån är Aftonbladet, Expressen, Dagens Nyheter samt Svenska Dagbladet. Resultatet av analysen visar att gestaltningen av ungdomskultur oftast har präglats av det finns en pågående konflikt som tidningarna själva ofta omedvetet eller medvetet medverkar till.

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Jichova, Miroslava. "Gendered Representations of Jazz Vocal Artists: A Critical Discourse Analysis of CD and Performance Reviews, and Interviews." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/569.

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This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent the artists' identities, roles, achievements and skills. Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society.

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Eifertsen, Dyne Chanen. "The development of an associate of arts degree in jazz studies through a system of shared governance : a case study /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11205.

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Törnmarck, Oskar, and Johannes Wikström. "Music For Sale? : Umeå Open & Umeå International Jazz Festival - A Study in Event Marketing." Thesis, Umeå University, Umeå School of Business, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-25536.

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Umeå is a city that is known for its music scene. Credible bands and artists have consequently sprung out and put the city on the map for as long the authors of this paper can remember. The city has a specific image and this study seeks to shine a light on how this came to be. Has there been a conscious marketing strategy in order to gain the reputation that Umeå has, or is the city’s music scene so prominent that it speaks for itself? Data for the study were collected through conducting qualitative interviews with the producers of the two music festivals Umeå Open and Umeå International Jazz Festival. The results show that cultural visions and marketing are constantly interacting, but to the authors’ knowledge, no conscious decisions have previously been taken to market Umeå as a city of music. Still, with current acts like Deportees, David Sandström and Frida Hyvönen just to mention a few, the image of Umeå is more justified than ever.

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Keeler, Matthew. "BESSIE SMITH: AN AMERICAN ICON FROM THREE PERSPECTIVES." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1130967483.

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Khoury, Nicole Michelle. "Hybrid identity and Arab/American feminism in Diana Abu-Jaber's Arabian Jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2862.

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In her novel Arabian Jazz, Diana Abu-Jaber attempts to explore the Arab American identity as something new; as an identity that exists related to, but ultimately separate from, the Arab and American identities from which it was originally created. This thesis discusses the emergence of the depiction of the Arab American female identity in the novel, examining how the characters explore issues of race, class, imperialism, and sex within both the Arab and the American cultures as those issues shape female identity. The thesis also presents a rhetorical analysis of the speeches that allow the characters a voice with respect to how identity is shaped and reshaped throughout the novel.

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Waits, Sarah A. ""Listen to the Wild Discord": Jazz in the Chicago Defender and the Louisiana Weekly, 1925-1929." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1676.

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This essay will use the views of two African American newspaper columnists, E. Belfield Spriggins of the Louisiana Weekly and Dave Peyton of the Chicago Defender, to argue that though New Orleans and Chicago both occupied a primary place in the history of jazz, in many ways jazz was initially met with ambivalence and suspicion. The struggle between the desire to highlight black achievement in music and the effort to adhere to tenets of middle class respectability play out in their columns. Despite historiographical writings to the contrary, these issues of the influence of jazz music on society were not limited to the white community. Tracing these columnists through the years of 1925-1929, a critical point in the popularity of jazz, reveals how considerations of black innovation and economic autonomy helped alter their opinions from criticism to ownership.

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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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Jonsson, Linnea. "Hur kan jag komma närmare det intuitiva spelet? : En studie om att förena improvisationsövning med trumpetmetodik." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4001.

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In this thesis I have explored how to combine improvisation with technical trumpet studies by creating exercises that are based on my compositions. The goal was to develop a uniform practice routine in order to become more free as an improviser. This semester I have had the benefit to have Ingrid Jensen as a trumpet teacher and therefore the process is mainly inspired by her experience and advice. I have found new tools to incorporate in my practice routine such as practicing to a drone and applying Flow studies on self-composed phrases. I have not only noticed a difference in my playing, but also realized the importance of giving yourself time to make progress.

Wheels, Fragments of Spring, New Beginnings, Morning Light, Hymn of the Forest (Linnea Jonsson är kompositör på samtliga låtar)

Medverkande:

Linnea Jonsson, trumpet

Britta Virves, piano

Bjarni Ingólfsson, gitarr

Ingrid Schyborger, kontrabas

Kristian Remnelius, trummor

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45

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 Studies
Ph.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

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Wirén, Martin. "Martin Wirén - Bear Garden : Martin Wiréns Examensarbete." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2391.

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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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Marchbanks, Jack R. "Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil RightsMovement, 1955-1965." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1522929258105629.

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Arthurs, Thomas. "Secret gardeners : an ethnography of improvised music in Berlin (2012-13)." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20457.

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This thesis addresses the aesthetics, ideologies and practicalities of contemporary European Improvised Music-making - this term referring to the tradition that emerged from 1960s American jazz and free jazz, and that remains, arguably, one of today's most misunderstood and under-represented musical genres. Using a multidisciplinary approach drawing on Grounded Theory, Ethnography and Social Network Analysis, and bounded by Berlin's cosmopolitan local scene of 2012-13, I define Improvised Music as a field of differing-yet-interconnected practices, and show how musicians and listeners conceived of and differentiated between these sub-styles, as well as how they discovered and learned to appreciate such a hidden, 'difficult' and idiosyncratic art form. Whilst on the surface Improvised Music might appear chaotic and beyond analysis in conventional terms, I show that, just like any other music, Improvised Music has its own genre-specific conventions, structures and expectations, and this research investigates its specific modes of performance, listening and appreciation - including the need to distinguish between 'musical' and 'processual' improvisatory outcomes, to differentiate between different 'levels' of improvising, and to separate the group and personal levels of the improvisatory process. I define improvised practices within this ifeld as variable combinations of 'composed' (pre-planned) and 'improvised' (real-time) elements, and examine the specific definitions of 'risk', 'honesty', 'trust', and 'good' and `bad' music-making which mediate these choices - these distinctions and evaluatory frameworks leading to a set of proposed conventions and distinctions for Improvised Music listening and production. This study looks at the representation of identity by improvising musicians, the use of social and political models as analogies for the improvisatory process (including the interplay between personal freedom of expression and the construction of coherent collective outcomes), and also examines the multiple functions of recording, in a music that was ostensibly only meant for the moment of its creation. All of this serves to address several popular misconceptions concerning Improvised Music, and does so directly from the point of view of a large sample of its most important practitioners and connoisseurs. Such findings provide key insights into the appreciation and understanding of Improvised Music itself (both for newcomers and those already adept in its ways), and this thesis offers important suggestions for scholars of Musicology, Ethnomusicology, Sociology of Music, Improvisation Studies, Performance Studies and Music/Cognitive Psychology, as well as for those concerned with improvisation and creativity in more general, non-musical, terms.

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Biggs, Ilze. "Ray Charles: a psychobiographical study." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002442.

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Psychobiography is the formulation of an individual's narrative according to a psychological theory. Psychobiographical researchers face a number of challenges. One pertinent challenge is the limited amount of psychobiographical research conducted at academic institutions, including South Africa. Although a number of studies had been completed in the past decade, the impact of psychobiographical research remains negligible. Although much has been written about Ray Charles, none of the existing literature adopted a specific psychological focus. Charles developed from a young boy in a poverty stricken, racially segregated society into an exceptionally successful musician who worked productively until he died at the age of 73. He was selected as the subject on the basis of interest value, uniqueness and significance of life achievements. The primary aim of this study was to explore and describe the development of Charles according to Levinson's (Levinson, et. ai, 1978) theoretical framework. Levinson's theory of adult development identifies and describes the important changes that occur throughout the lifespan of an individual. A secondary aim was to provide an understanding of Charles within the social, economic and historical context in which he lived. The data collection and analysis was conducted according to Yin's (2003) 'analytic generalization'. The data was analysed according to three linked sub-processes proposed by Huberman and Miles (1994).

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Dissertations / Theses on the topic 'Jazz Studies'

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