Tesi: "Humanities -> music -> jazz"

1

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

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This paper deals with the novel Jazz, written by African-American writer Toni Morrison. The paper argues that the novel deconstructs itself. Also, it illustrates how the jazz music in the novel works as a deconstructing force on the characters and the narrative form. The essay begins with a chapter about deconstructive theory. Next, there is a brief summary of jazz music – its history and features. Then, there is an analysis which focuses on how jazz music affects the characters. Last, the narrative form is investigated, for instance in terms of the narrator’s tendency to shift between various points of view.
Uppsatsen påbörjades vid Halmstad Högskola med Cecilia Björkén Nyberg som handledare, men slutfördes vid Växjö Universitet. Magisterexamen är sedan uttagen vid Högskolan i Halmstad.

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2

Agan, Mai. "MaiGroup - You : From composing the music to album release tour". Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2375.

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3

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

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4

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

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This project is focusing on the interplay between guitar and piano with the goal of combining the strengths between both instruments. By experimenting with different compositional methods within strict frames combined with curiosity, the purpose is to explore new grounds. The goal is also to face the difficulties that may arise between both of the instruments. To achieve this, music has been written for a guitar and piano-duo, a trio with double bass and a quartet with drums. The process of every composition, choice of musicians, choice of gear and the musical recital is explained in detail. The importance of having an open dialogue between the guitarist and pianist is described, as well as the rehearsal with the whole band. In the end, a conclusion is made that despite the mentioned obstacles, the biggest difficulty was the composing. A conclusion that the project has given further knowledge of composing, as well as technical achievements as an electric and acoustic guitar player is also explained.

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5

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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6

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

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

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7

Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/101.

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

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8

Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2018. http://digitalcommons.auctr.edu/cauetds/142.

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Abstract (sommario):

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

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9

Borring, Kristian. "An investigation into theories of odd meter and their application to jazz composition and improvisation". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2023. https://ro.ecu.edu.au/theses/2665.

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

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10

Sörensen, Mikael. "The Chromatic Approach : en studie i vilka påverkningsbara faktorer som visar sig genom aktionsforskning av en modern traditionsbrytande jazzimprovisationsmetod". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2490.

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

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11

Törnfeldt, (f Hedin) Gunilla. "Genus i jazzundervisning". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3372.

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Abstract (sommario):

Syftet med mitt arbete var att få en bild av i vilken utsträckning det finns ett genusperspektiv i metodikundervisningen i jazzensemble och improvisation på musikhögskolenivå i Sverige. Även att få en bild av i vilken utsträckning verksamma lärare i jazzensemble och improvisation, som genomgått metodikkurser i samma ämnen, har en medvetenhet om genusfrågor samt ifall deras undervisning påverkas av det. Jag ville även kartlägga dessa lärares åsikter om vad den sneda könsfördelningen i jazz och improvisationsmusik beror på samt hitta och föreslå möjliga förändringar. Jag valde att göra kvalitativa intervjuer med sex aktiva jazzensemblelärare. Två av lärarna var ansvariga för metodikundervisningen i jazzensemble på respektive musikhögskola: Musikhögskolan i Malmö och Kungl. Musikhögskolan. De andra fyra lärarna hade genomgått sin pedagogiska utbildning vid någon av dessa två musikhögskolor. Undersökningen pekar på att det varken har funnits eller, när undersökningen gjordes, fanns ett genusperspektiv i metodikundervisningen i jazzensemble på Musikhögskolan i Malmö och Kungl. Musikhögskolan. Alla sex lärarna hade gjort iakttagelser av skillnader i beteenden i undervisningssituationer mellan killar och tjejer. De lärare som hade erfarenhet av att undervisa enkönade grupper med endast tjejer hade i högre grad uppmärksammat könsskillnader och hade alla utvecklat sina individuella metoder för hur de handskades med detta. De flesta av lärarna hade dock inte några tydliga kunskaper om genusstrukturer och hur man kan arbeta för att förändra dem, varför jag generellt sett betraktar genusmedvetenheten hos lärarna som låg, även om den varierar lite sinsemellan. Jag kom fram till flera möjliga orsaker till könsfördelningen i jazz och improvisations- musik: rådande genusstrukturer i samhället, därav brist på kvinnliga förebilder, musik- utbildningarnas och medias fokusering på analyserbar jazz, cementering av rådande genusstrukturer på jazzutbildningarna och brist på förändring av dessa strukturer. Genusstrukturer i samhället ändras hela tiden och arbetet att förändra de förlegade strukturer som finns sker på många olika nivåer, även om det går långsamt. Däremot kan institutioner, utbildningar och konsertarrangörer ta krafttag vad gäller att synliggöra kvinnliga förebilder, särskilt för elever i tidiga utbildningsår. Jag drog även slutsatsen att institutioner, arrangörer, musikjournalister m.fl. borde öppna upp begreppet jazz till att innefatta all improviserad musik för att flera ska känna sig välkomna i genren. Man bör även införliva ett genusperspektiv i ensemblemetodiken på musikhögskolorna och musikutbildningarna samt på alla musikutbildningar arbeta för att förändra de rådande genusstrukturerna. Utbildning och kunskap ser jag som en viktig väg till förändring.

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12

Hellgren, Matilda. "Att vara i jazz-dans : En kvalitativ studie om hur deltagare i dansundervisning upplever ”existentiellt varande” med hjälp av jazzdans". Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-936.

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Abstract (sommario):

This study investigates how participants in dance education describe their experiences of a phenomenon called ”existential presence” with the help of jazz dance and what didactic factors makes it possible for them to experience it. With theory of the phenomenology-related lifeworld, the didactic relation map, and interview with low standardized questions as a method, came the results that show how the presence could be described in many different ways, how different individuals have different needs for the phenomenon to be possible, and that jazz dance and its strong relationship to the music is a possible opening for the presence to be.

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13

Henry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.

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14

Holgersson, Per-Henrik. "Musikalisk kunskapsutveckling i högre musikutbildning : en kulturpsykologisk studie av musikerstudenters förhållningssätt i enskild instrumentalundervisning". Doctoral thesis, Stockholms universitet, Kungl. Musikhögskolan i Stockholm, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-54709.

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The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward.
Genom projektet, Instrumenatlisters musikaliska kunskapsutveckling. Finansierat av Vetenskapsrådet
Genom projektet, Vem äger lärandet? Finansierat av Myndigheten för nätverk och samarbete inom högre utbildning

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15

Nitzler, Ludvig. "TECH-DEATH & NEO-SOUL : INSIKTER OCH ÅSIKTER". Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-175315.

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In this hermeneutic and autoethnographic study I explore and analyze two different music projects, and the process of working with them at the same time. The purpose of this is to find practical, psychological, and artistic insights.The results ascertain that tech-death and neo-soul are linked together by jazz and early twentieth century classical music, both culturally and music-theoretic. Further conclusions illuminated my own constructed role in music production and defined similarities in workflow in terms of both genres.

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Tesi sul tema "Humanities -> music -> jazz"

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