Добірка наукової літератури з теми "Herbie Hancock"

Cet article porte sur le groove, plus précisément sur celui que l’on peut retrouver dans des genres musicaux populaires tels que le funk, la soul et certains types de jazz ; le phénomène y est abordé selon l’angle de ses spécificités perceptives. Le groove étant souvent ressenti mais très rarement verbalisé, il importait d’en donner une définition, d’une part en situant l’objet d’étude à partir de la littérature sur le sujet, mais aussi en rapportant le résultat d’entrevues menées auprès de musiciens (trois étudiants provenant de trois différents programmes universitaires en musique). La question de la perception est ensuite explorée au moyen de travaux de psychologie de la musique. Le groove est compris comme un phénomène essentiellement rythmique qui, au niveau musical, prend généralement ses sources dans la section rythmique (basse et batterie) d’une formation de jazz ou de funk. Un rythme syncopé se superpose à un mètre très clairement établi, que la pulsation soit directement jouée ou seulement induite. Le groove est cyclique et répétitif, ce qui suscite un effet d’entraînement menant l’auditeur au mouvement et même à la danse, desquels résulte un sentiment de bien-être. Cet affect positif joue un rôle central dans la définition du groove. La cyclicité et la répétitivité quant à elles sont à l’origine d’un phénomène d’entraînement qui peut se traduire au niveau corporel mais qui est avant tout cortical : c’est ce qui est appelé couplage sensorimoteur en sciences cognitives. L’analyse de trois exemples musicaux tirés du répertoire funk et reconnus pour la qualité de leur groove sont analysés, « Doing it to Death » de James Brown, « Chameleon » de Herbie Hancock et « Superstition » de Stevie Wonder, permet d’observer comment les caractéristiques mentionnées plus haut se traduisent musicalement.

Bowley, S. R. and Hancock, D. 2011. DIVIDEND VL orchardgrass. Can. J. Plant Sci. 91: 793–795. DIVIDEND VL is a late-maturing orchardgrass (Dactylis glomerata L.) cultivar for silage and hay production in mixtures with alfalfa (Medicago sativa L.) in eastern Canada. The population was developed at the University of Guelph, Guelph, ON. DIVIDEND VL matured at a slower rate when grown in pure stand and in binary mixtures with alfalfa compared with the cultivars OKAY and Rapido. When harvested at the same date, DIVIDEND VL averaged 7% lower in biomass yield compared with OKAY, but the herbage was less advanced in its maturity.

This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.

Through the development of an analytical framework that addresses voice leading in both tonal and modal settings, improvised performances based on a repeating jazz lead sheet progression can be analyzed, categorized, and compared according to their implied harmonic content and adherence to the harmonic possibilities inherent in the lead sheet. The proposed framework, grounded in jazz theory, is used to analyze two performances of Herbie Hancock's Dolphin Dance, one each by Bill Evans and the composer. Five passages, representing both tonal and modal settings, are examined according to the voice leading criteria proposed in the framework. This thesis addresses 1) the various jazz scores necessary for analysis -- including a third abstract score that encapsulates the infinite possible ways to realize a lead sheet; 2) the evolution of modal jazz; and 3) the reduction of transcribed improvisations to progressions of implied harmonic sonorities connected through voice leading.

Herbie Hancock’s influential recordings from his pre-electric era, 1961-1968, display a jazz piano style that contains a unique combination of musical elements. This submission for the degree of Master of Philosophy in Music Performance investigates the ways in which Hancock’s improvisational language of this era can successfully be employed in performance by the modern jazz pianist. The project identifies melodic, harmonic and rhythmic traits from Hancock’s solos and presents prominent examples of each. It outlines how these are then assimilated through a practice regime that employs a series of twelve-key exercises. The musical elements are further developed to create more opportunities for their execution in a variety of musical situations. Two recitals are presented, one of Hancock’s pre-electric music specifically, and one encompassing a broader repertoire. Each recital demonstrates the application of these aspects of Hancock’s improvisational vocabulary in contemporary jazz performance. An explanation of this process of application is given, and specific examples from the recital recordings are used to illustrate that process. The submission consists of CD recordings of the two 60-minute public recitals and a 7500 word exegesis. This project highlights the process used by the modern jazz pianist to assimilate new improvisational techniques and apply these in performance.
Thesis (M.Phil.) -- University of Adelaide, Elder Conservatorium of Music, 2014

Abstract Large numbers of dacine specimens were collected throughout Papua New Guinea by trapping and host fruit sampling. Steinertype fruit fly traps, baited with cue lure, methyl eugenol or vanillylacetone (zingerone), were set in many localities over a wide range of ecosystems. In most cases, the traps were serviced on 2-week cycles for at least 1 year. Samples of rainforest and cultivated fruits were collected in some provinces. All specimens collected were preserved in a dry state and sent to R.A.I. Drew at Griffith University, Brisbane, Australia, for microscopic identification and curation. Data and photographs of Bactrocera longicornis were received from the Museum Nationale d'Histoire Naturelle, Paris, France. The subgeneric classification used herein follows Drew and Hancock (2016) and Hancock and Drew (2006, 2015, 2016, 2017a,b,c,d,e, 2018a,b,c, 2019).

Hancock’s postbop composition provided some of the signature sounds of the 1960s. “King Cobra” (My Point of View) relies on both major third and minor third axis progressions, often using a slash-chord vocabulary; several devices at the end of the form enhance its tonal and formal ambiguity. “Dolphin Dance” (Maiden Voyage) maintains an even heightened sense of tonal and formal ambiguity. It begins with major third axis progressions embellished through harmonic substitutions and elaborations; despite local harmonic cadences and goals, the composition suppresses a single-key orientation. “Jessica” (Fat Albert Rotunda) relies on a perfect fifth axis progression in its skeletal melody, and its horn scoring reveals significant details of Hancock’s harmonic vocabulary and harmonic substitution techniques.

On 23 October 1997, Minh’s Jazz Club opened its doors in Hà Nội. It was the first jazz club to open in Vietnam under communist rule. Ever since then, Minh’s Jazz Club has been the place for Vietnamese musicians to indulge in playing jazz for a live audience. Earlier in 1992, Metropole, the reopened colonial era luxurious hotel, had begun to feature a regular jazz act at the hotel’s bar. That jazz act was a Vietnamese band led by Quyền Văn Minh. In 2001, Minh’s Jazz Club was one of four venues that hosted the First European Jazz Festival in Vietnam. In the years that followed, a stream of international jazz artists, including Herbie Hancock, Wayne Shorter, and Yamashita Yosuke visited Hà Nội. Almost every one of these musicians made a stop at Minh’s Jazz Club. There is a bona fide jazz venue in Hà Nội. Jazz could be heard in the political capital of socialist Vietnam.

This chapter examines Sly Stone as an organic intellectual, that is, a poet-songwriter, imaginative thinker, and visionary artist whose band, Sly and the Family Stone, played a foundational role in creating funk music and the broader cultural aesthetic that exemplified funk. In this regard, the chapter demonstrates how Stone’s approach to music-making, which was largely determined by his extensive background in gospel, played a vital role in his construction of funk. Combining gospel, blues, jazz, and rock, the Family Stone created a new sound that not only fascinated listeners of rock and rhythm and blues but such acclaimed musicians as Miles Davis and Herbie Hancock as well. In addition, the chapter provides biographical information that contextualizes the artists’ development and illuminates the band’s aesthetic. Finally, the chapter provides key information on groundbreaking bass player Larry Graham and trumpeter Cynthia Robinson as well as detailed commentary on momentous recordings and live performances.

The avant-garde (or “free jazz”) musicians who came to the forefront of jazz during the late 1950s and early 1960s mounted a revolutionary movement that challenged all the conventions of the idiom, aligning their innovations with the progressive social and political changes of the era. This chapter looks at the leading exponents of the music, including Ornette Coleman, Cecil Taylor, and Albert Ayler. But just when jazz seemed ready to sever completely its relationship with a mainstream audience, a new movement known as fusion (or jazz-rock fusion) attempted to broaden the music’s appeal by drawing on the new sounds of electrified commercial styles. Miles Davis, previously seen as an advocate of bebop, cool jazz, and other jazz movements, emerged as the leader of this new approach, signaled by the release of his hit album Bitches Brew. In the 1970s, a different kind of fusion style emerged, associated with the ECM record label in Germany, which combined jazz with ingredients drawn from classical music, world music, and other sources. This chapter traces the history of these contrasting styles and their major exponents, including Keith Jarrett, Pat Metheny, Chick Corea, Herbie Hancock, and the band Weather Report