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Thèses sur le sujet « Jazz Analysis, appreciation »

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Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 20 février 2023

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Mahoney, J. Jeffrey. « The Elements of Jazz Harmony and Analysis ». Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.

Sugg, Andrew Norman. « Tracking the trane : comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy ». Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

Cogswell, Michael. « Melodic Organization in Four Solos by Ornette Coleman ». Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501207/.

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The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography.

Brien, Stephen. « An investigation of forward motion as an analytic template ». Master's thesis, Sydney Conservatorium of Music, 2004. http://hdl.handle.net/2123/9045.

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Williams, Alwyn. « The color of sound : jazz and the American intelligentsia, 1919-1939 / Alwyn Williams ». Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/27982.

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The Color of Sound is a history of the American intelligentsia’s response to jazz in the 20 years between the World Wars, containing analysis of the writings of both white and black thinkers, highlighting the way beliefs about jazz have changed during this period. This history demonstrates that our popular understanding—that jazz is an improvised music, based on the musical practices of African Americans— originated in the late 1920s and early 19305, when a small number of writers challenged the orthodoxy of the first decade of jazz criticism. In the 1920s, American intellectuals (both black and white), while divided over the musical significance of jazz, believed that orchestrated music, using syncopation, novel instrumentation and (sometimes) a blues tonality, was jazz in its highest form. The premier jazz artist, they argued, was an obese, white American named Paul Whiteman. Jazz’s finest composer was George Gershwin, and the most important composition of the 1920s was Gershwin’s Rhapsody in Blue.

Murdock, Matthew C. « Sidewinder syndrome : improvisational vocabulary and construction of Richard "Blue" Mitchell and Lee Morgan ». Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364934.

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During the mid 1960s, record producers and jazz critics coined the phrase Sidewinder Syndrome to describe the funky style of music popularized through the success of Lee Morgan's solo release of "Sidewinder. The funky style, rooted in the heart of the hard bop period (1955-1965), united jazz, Latin influences, and popular black traditions such as gospel and urban blues. Lee Morgan (1938-1973), composer of "Sidewinder," and Richard "Blue" Mitchell (1930-1979) were two prolific trumpet artists from this time period who embraced the Sidewinder Syndrome, and as a result provided a rich improvisational vocabulary, as it pertains to trumpet performance practice. This study presents six annotated transcriptions from each artist focusing on elements of jazz vocabulary and solo construction.The study reveals vocabulary and solo construction preferences within the Sidewinder Syndrome. Results indicated the three most common harmonic generalization elements were digital patterns, change-running, and the bar-line shift. Complex harmonic generalization elements included bebop scale, 3-b9 movement, linear chromaticism, and tri-tone substitution / altered dominant. Vocal inflections derived from gospel music and urban blues were the half-valve, grace note, alternate fingerings, note bending, and fall. Bebop influenced articulation included upbeat-to-downbeat articulation and ghost note. Bebop influenced ornamentation included the two-sixteenth note ornament and the turn. Results suggest solo construction relied heavily upon the sequencing of rhythmic and melodic motives. Space was utilized for clarity, new concepts, and octave displacement. Developmental concepts included running eighth and sixteenth note lines. This study provides an opportunity for students of improvisation to isolate and study jazz vocabulary and solo construction of the Sidewinder Syndrome.
School of Music

Kelly, Kenneth Todd. « Chet Baker : a study of his improvisational style, 1952-1959 ». Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.

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The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyzed by the researcher; melodies of standard songs were transcribed and compared with the original version. The number of solos selected from each period was based on the length of time Baker spent with each particular group and the number of albums recorded. The solos were analyzed in terms of rhythmic interpretation of melodies, intervals utilized, use of nonharmonic tones, use of jazz cliches, embellishment of the melodic line, use of melodic and rhythmic patterns, range, tone quality, articulation, vibrato, and vocal scat syllables. As a result of this analysis, the researcher was able to draw conclusions concerning Baker's improvisational style during the period of the study.
School of Music

Kteily-O'Sullivan, Laila Rose. « Klangfarben, Rhythmic Displacement, and Economy of Means : A Theoretical Study of the Works of Thelonious Monk ». Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501262/.

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The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The musical examples appear in transcription form, as some of them are unpublished. The topics are introduced in the first chapter, and individually addressed in subsequent chapters.

Hedenstrom, Aaron. « Programmatic Geographical Depictions in Large-Scale Jazz Ensemble Works : Major Works by Gil Evans and Chuck Owen and a New Work by Aaron Hedenstrom ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849643/.

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This dissertation explores the creative process in large-scale jazz ensemble works that are programmatic in depicting geographical locations. This is achieved through analyses of Gil Evans's Sketches of Spain, Chuck Owen's River Runs: A Concerto for Jazz Guitar, Saxophone, & Orchestra, and Aaron Hedenstrom's Sketches of Minnesota. Each work is examined using five analytical categories: orchestration, large-scale form, harmonic/melodic development, programmatic framework, and use of featured soloists. The analyses draw from musical scores, interviews, biographies, recordings, and articles to reveal more about each composer's artistic intentions. This study contributes to the broader knowledge of large-ensemble jazz works and programmatic jazz works. This research meets the need for more critical analyses of important jazz ensemble works relevant to composers, arrangers, and scholars.

Pamies, Sergio 1983. « The Controversial Identity of Flamenco Jazz : A New Historical and Analytical Approach ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849724/.

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There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the existent literature on flamenco jazz on the evaluation of these recordings and these artists' achievements and contributions to this field. These writings encompass authors from different backgrounds: journalists, critics, and musicologists, who have approached their analysis of the recordings from different perspectives. The differences in professional backgrounds, approaches, and purpose of the writings of these authors has resulted in controversy about this label. Therefore, the flamenco jazz scholarly conversation needs more objective writings from an analytical point of view. This historiographical study presents a more comprehensive evaluation of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these artists went through when combining musical elements from flamenco and jazz, which in some cases are described as creative misreading. In this century of cultural globalization, where jazz has become a diverse expression of world music because of its capacity to absorb traits from other musical practices, this study can be a resource for international jazz musicians who are seeking to combine jazz with their musical cultural heritage.

Heffner, Steven (Bassist). « An Analysis of Dave Holland's Free Improvisation in "Waterfall" and Its Pedagogical Applications for Bassists in Avant-Garde Performance ». Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609128/.

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This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melody, rhythm, form, and energy through systems of musical contour, musical forces, and form analysis reveal constituent patterns that can be isolated. These patterns are codified and presented as pedagogical suggestions to assist in the practice of free improvisation.

Harris, Mark. « Polyphony as a compositional device of Dave Holland ». Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/20468.

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Dave Holland is one of the most influential jazz musicians alive today both as a performer and composer. The purpose of this thesis is to investigate the counterpoint sections of compositions by Dave Holland performed by the Dave Holland Quintet on the recording Prime Directive. Data derived from transcriptions of these counterpoint sections was the basis of statistical analysis looking at density and timbre, phrase counterpoint, interval structure, tessitura, and rhythmic elements. It was shown that Holland’s polyphony has many consistencies in its construction resulting in it being a uniquely identifiable feature of Holland’s compositional style. By its very definition counterpoint suits Holland’s aesthetic ideals of space and rhythmic interest and this, combined with his expert craftsmanship elevates it to being clearly one of his more important compositional devices.

White, Paul Greggers. « Discord suite for jazz orchestra ». Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110741.

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De, Castro Paul Jose. « Three movements for jazz orchestra based on the Cuban rumba ». Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3108489.

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Sugg, Andrew Norman. « Tracking the trane : comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman / by Andrew Norman Sugg ». Thesis, 2001. http://hdl.handle.net/2440/21706.

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Includes bibliographical references (leaves 350-359).
xi, 359 leaves : music ; 30 cm.
Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2001