Дисертації: "Jazz Analysis"

1

Davis, Glen Roger. "Levels analysis of jazz tunes." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314720939.

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2

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.

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3

Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophone and drums.

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4

Moore, Michael D. "A performance analysis of selected works for trumpet by Chet Baker /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1999.

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5

Franz, David Matthew. "Markov Chains as Tools for Jazz Improvisation Analysis." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/36831.

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This thesis describes an exploratory application of a statistical analysis and modeling technique (Markov chains) for the modeling of jazz improvisation with the intended subobjective of providing increased insight into an improviser's style and creativity through the postulation of quantitative measures of style and creativity based on the constructed Markovian analysis techniques. Using Visual Basic programming language, Markov chains of orders one to three are created using transcriptions of improvised solos by John Coltrane in his song Giant Steps. Still considered as statistical data, the Markov chains are examined and information is extracted from them through the development of several statistical tools for musical analysis. Two general categories of tools for analysis are developed: Subtraction matrices and graphical comparisons of distributions. Using these tools and the raw Markov chain data for musical analysis, quantitative measures for creativity and style are postulated. These measures are based on previously developed models and definitions of creativity and style taken from the literature. The information acquired from the implementation of the analysis tools is applied to the models in order to provide a theoretical basis for the development of the quantitative measures and a framework for the interpretation of the information. Guilford's Structure of Intellect model is used for developing creativity measures and Heen's model of the constructs of style analysis is used for determining measures of style. Overall, this research found that Markov chains provide distinct and useful information for musical analysis in the domain of jazz improvisation. Many examples of Markov chains are enumerated and tools for analysis are developed that implement the Markov chains. It is then explained how Markov chains and the tools for their analysis can be interpreted to determine quantitative measures of creativity and style. Finally, this thesis presents conclusions on Markov chain portrayals, new analysis tools and procedures, quantitative measures of creativity and style, and, in sum, that Markovian modeling is in fact a reasonable and useful modeling approach for this application.
Master of Science

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6

Lyttle, David. "Modern approaches to swing jazz drumming : A stylistic analysis of twelve American jazz drummers, 1980-2008." Thesis, University of Ulster, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502893.

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7

Gay, Fernández Carlos. "Jazz influence on classical clarinet : Analysis and identification of jazz elements in classical clarinet repertoire in the 20th century." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2384.

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This thesis is about jazz influence on classical clarinet repertoire, focusing on analysis and identification of all the jazz elements that run through this style into classical music. It also wants to describe the huge change of way of playing noticeable in the Swing Era in relation to the classical way.In the first part of the thesis I describe the birth of jazz and the political, historical and musical situation in the West, to understand the process in which they got blended. After that I identify and classify jazzy elements in classical music, analyzing in depth the repertoire of my exam-concert, which is strongly influenced by this style, and in a more superficial way other influenced classical clarinet works as well. I show in the very last part of the thesis how this influence is reflected, classifying these elements in harmonic, melodic, written and rhythmical ones.

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8

Harvey, Stephen P. "Jazz Chamber Music: An Analysis of Chris Potter’s Imaginary Cities and a Musical Composition." Youngstown State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1471354255.

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9

Caban, Ruben. "An analysis of six original Latin jazz compositions and arrangements." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/1951.

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The purpose of this thesis is to examine the cross-cultural fusion of jazz harmony and Afro Caribbean rhythms. These six compositions were chosen for the composers Master's recital to demonstrate how his writing technique was influenced by his cultural and musical experience during his years of study and performance in the United States and abroad. The instrumentation was chosen to exemplify the fusion of the traditional percussive sounds of Latin music with jazz harmony, melody and improvisation. It is important to note that even though one of the compositions, E.T., is not written in a Latin style, it was nonetheless the product of a Puerto Rican composer, and it exemplifies his influences as a cross-cultural composer and soloist. Scores of the six musical works are provided in an Appendix, and a live recording of the recital is included.

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10

Cook, Scott Alexander. "Referential sets, referential tonics, and the analysis of contemporary jazz." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42104.

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While jazz has become more integrated into academia, the repertoire that is commonly examined is out of date. Today's leading jazz scholars tend to focus on a handful of musicians who made their mark in the '50s and '60s. But jazz writing has continued to evolve in the last fifty years, particularly in regards to harmony. Though many rooted chords—including MM7, mm7, and Mm7—can be heard in succession, the relationships between adjacent chords are obscure, and rarely manifest the standard II–V–I progression found in classic jazz. Often, successive chords belong to different diatonic sets. Some composers have eliminated chord symbols from their lead sheets altogether, leaving harmonic interpretation and relationships even more open-ended. Since the inception of modal jazz in the late '50s, priority has been given to groups of notes and the ways that they can interact, as opposed to specific chords, keys, and function. This presents a challenge not only for harmonic analysis but also for improvising on these changes in performance. Nevertheless, pitch-class organization can often be heard to promote a hierarchical ranking amongst the chords, resulting in strong points of reference. This dissertation develops and applies a theory of referential sets, for analyzing and improvising over representative examples of chromatic chord successions found in some contemporary jazz. By treating pitch-classes outside the collection as alterations, this theory provides a way to hear successions of seemingly unrelated chords as derived from such collections, which are in turn supported by global referential tonics. This is analogous to traditional, hierarchical ways of hearing secondary dominants and other chromaticism, but with different restrictions on the types of alterations allowed. It therefore describes more variegated progressions, and also allows referential sets to be different and larger than diatonic sets, while still providing the traditional benefits of harmonic analysis, such as the identification of continuities, recurring patterns of root successions, cadences, and other formal processes and relations that remain paramount in much of today's jazz writing.

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11

DeAngelo, Justin. "Zen and the art of motorcycle maintenance : score and analysis /." View online, v.1, 2008. http://repository.eiu.edu/theses/docs/32211131458621.pdf.

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12

Brown, Daniel Richard. "A HISTORY AND ANALYSIS OF THE ADVANCEMENTS IN JAZZ TUBA PERFORMANCE FROM 1940 UNTIL 2010." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195330.

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The purpose of this study is to provide a history of the development of jazz tuba performance from 1940 until 2010. The history consists of profiles of jazz tubists that developed or participated in new styles of jazz tuba performance. Musical figures are provided for different decades of change. Figures are taken from the original scores or transcribed from recordings and analyzed to highlight advancements.

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13

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.

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14

Buchholz, Timothy C. "Analysis and Categorization of Selected Musical Elements within Forty-three Solo Jazz Vocal "Standards" with Pedagogical Application to Repertoire Selection and the Teaching of Jazz Concepts in the Jazz Voice Lesson." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/386.

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While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.

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15

Fay, Kaitlyn A. "In search of effective jazz education| An analysis and comparison of pedagogical methods employed by directors of successful high school jazz ensembles." Thesis, The William Paterson University of New Jersey, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1538595.

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Jazz education within academia is still young, yet many educators have been recognized for successful leadership of high school jazz ensembles. Directors of finalist bands from the 2012 Essentially Ellington competition, a national opportunity hosted by Jazz at Lincoln Center, completed a questionnaire and interview regarding their pedagogical techniques and supplemental methods. All participants responded that listening to recordings and the fostering of peer mentoring are crucial elements. Other important techniques include singing, sight reading, rhythmic exercises, and the use of blues improvisation as a warm up activity. Important supplemental factors included personality traits such as intense, detail oriented, energetic, and fun, while participants noted the positive experiences and techniques learned from events with Jazz at Lincoln Center. In conclusion, leaders of successful high school jazz ensembles share several techniques, qualities, and behaviors, yet there is no single formula for a great high school jazz ensemble director.

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16

Gold, Michael J. "The jazz improvisations of the tenor saxophonist Warne Marsh an eclectic analysis /." Full text available, 1995. http://images.lib.monash.edu.au/ts/theses/goldm.pdf.

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17

Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

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18

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.

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19

Hardester, Bryan Matthew. "An analysis and compositional application of trombonist John Allred's improvisational style." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4852.

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20

Heffner, Steven. "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, 2012. 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.

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21

Fraile, Alex. "Motivic and Voice-Leading Coherence in the Improvisations of Saxophonist Chris Cheek." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062820/.

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Saxophonist Chris Cheek has been a reference for his work as a sideman with some of the most established jazz artists in the international jazz scene of the last twenty-five years. Despite his importance, there is lack of detail in the available publications about Cheek. The short length and journalistic character of the publications only produce surface descriptions of Cheek's style. There is a need to further describe the melodic elements present in Chris Cheek's style in order to have a better understanding of the implications and importance of these elements across the history of jazz saxophone and jazz pedagogy. In the past, several scholarly works have described the improvisational styles of jazz musicians using a multitude of analytical tools. The design of those studies often fails to provide a comprehensive view of the improviser's style because of the limited scope of the analyzed sources or the specific focus of the analysis. This analytical study presents a comprehensive view of Chris Cheek's style through the motivic and voice-leading analyses of six improvisations by the saxophonist. This design allows the study to discern between motivic development processes, melodic structures, formulaic material, and harmonic structures that belong to the saxophonist's idiom. By presenting the elements in Cheek's style, this study is able to show the importance of motivic and voice-leading coherence in jazz pedagogy as well as the importance of Cheek's style as a reference for lyricism.

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22

Conti, Agustin A. "Argentine music styles contributions to contemporary jazz language : analysis of six original compositions." FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/2428.

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The purpose of this thesis is to present and analyze six original compositions and arrangements by Agustin A. Conti that demonstrate the influence of Argentinean music on Jazz composition. Conti’s compositions combine elements of the Chacarera, Candombe, Murga, Milonga, and Malambo styles, with the odd-meter ostinato and metric modulation used in modem Latin jazz. The thesis includes scores of the six works, as well as a CD of the thesis recital, performed by a jazz quartet consisting of tenor saxophone (or soprano), piano, electric bass and drum set.

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23

Hawley, Laura. "Jazz improvisation, analysis, and interpretation: Three performances of "Honeysuckle Rose" by Ella Fitzgerald." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27520.

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This thesis develops a framework for analyzing melodic improvisation on a jazz standard in order to explore how the improvisation relates to the original melody and harmony of the song. Using three recorded performances of "Honeysuckle Rose" by Ella Fitzgerald, the analytic method reveals the complex web of melodic and harmonic relationships in her improvisational style and musical craft. The first chapter outlines important terminology and addresses the use of transcription as a tool for analyzing recorded performance. The second chapter explores current practices in jazz analysis and discusses strategies for jazz improvisation. Drawing on the work of prominent jazz analysts (Larson, Kernfeld, Hodson) these chapters lead to the formulation of a three-stage model for analyzing melodic jazz improvisation. The third and fourth chapters present an analysis of Thomas "Fats" Waller's "Honeysuckle Rose," comparing analytic information gleaned from performance transcriptions and the lead-sheet. This analysis illustrates the utility of a model that allows the analyst to simultaneously consider aspects of form, melody, and harmony.

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24

Versola, A. Mariela. "Jazz & Apartheid| An Analysis of The Life and Music of Hugh Masekela." Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10828446.

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South African trumpeter Hugh Masekela is best known for his number one hit “Grazin’ In The Grass” and his composition “Bring Him Back Home, Nelson Mandela” that became the anthem for the anti-apartheid cause. Though some scholarship on Masekela and jazz in South Africa exists, no study has offered musical analysis of Masekela’s prolific body of work. The purpose of this document is to examine Masekela’s musical and personal evolution towards advocacy and activism, and to identify and analyze elements of protest within his music. Findings include a diverse collection of hidden and overt forms of protest in his music, as well as reinterpretations of Masekela’s career trajectory.

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25

Heyer, David 1979. "Vocabulary, Voice Leading, and Motivic Coherence in Chet Baker's Jazz Improvisations." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12152.

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xxv, 492 p. ： music
This study applies Schenkerian theory to Chet Baker's jazz improvisations in order to uncover the melodic, harmonic, and contrapuntal hallmarks of his style. Analyses of short excerpts taken from multiple recorded improvisations reveal Baker's improvisational vocabulary, which includes recurring underlying structures that Baker embellishes in a wide variety of ways and places in a wide variety of harmonic contexts. These analyses also explore other traits (rhythmic, timbral, etc.) that appear in Baker's improvisations throughout his career. The dissertation culminates in three illustrative analyses that demonstrate the ways in which Baker constructs single, unified improvisations by masterfully controlling the long-range voice-leading tendencies of his improvised lines. As he weaves his vocabulary into these lines, he creates improvisations that unfold in a way that is logical, satisfying in the fulfillment of expectations, and motivically cohesive on multiple levels of structure.
Committee in charge: Steve Larson， Co-Chair； Jack Boss， Co-Chair； Stephen Rodgers， Member Anne Dhu McLucas Member； George Rowe， Outside Member； Timothy Clarke， External Contributing Member

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26

Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.

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This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.

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27

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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28

Butete, Netsayi. "The jazz divas an analysis of the musical careers of six New Brighton vocalists." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002298.

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Анотація:

There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.

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29

Belck, Scott Brian. "LICKETY SPLIT: Modern Aspects of Composition and Orchestration in the Large Jazz Ensemble Compositions of Jim McNeely: An Analysis of EXTRA CREDIT, IN THE WEE SMALL HOURS OF THE MORNING, and ABSOLUTION." Cincinnati, Ohio : University of Cincinnati, 2008. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1204569102.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisor: Alan Siebert. Title from electronic thesis title page (viewed May 12, 2008). Includes abstract. Keywords: McNeely, Jim; jazz arranging; wright, rayburn; vanguard jazz orchestra; Thad Jones Mel Lewis jazz orchestra; jazz composition;. Includes bibliographical references.

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30

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.

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Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16621/1/Clare_Hansson_Thesis.pdf.

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This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.

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32

Neciosup, Hector D. "An Analysis Of Five Compositions Representing The Fusion Of Jazz, World, and Latin American Rhythms." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/341.

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The purpose of this Thesis Recital, documented on the accompanying compact disc, was to merge the influences of American Jazz, World Music, and Latin American idioms into a program of five original arrangements for six-piece band. Each arrangement combines a modern approach to jazz harmony and melody with world percussion rhythms and instruments. Rhythms from different parts of the world are integrated, creating a special, completely innovative blend. The instrumentation I have chosen—together with the stylistic contributions of the individual performers— create a sound, and timbre that combines influences from Rock, Jazz, Latin, and World music. The instrumentation consists of electric guitar, trumpet, piano/keyboard, electric/acoustic bass, percussion, and drums/percussion. The following pages will analyze each piece, with special attention to the mixture of musical elements that create this unique style of arranging, composition, and performance. An appendix provides scores of my five arrangements.

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Clark, Colleen (Musician). "The Evolution of the Ride Cymbal Pattern from 1917 to 1941: An Historical and Critical Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505181/.

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The purpose of this study is to provide a historiographical and musical analysis examining the jazz ride cymbal pattern, from its inception on woodblock, small accessory cymbals, hand cymbal mechanisms and brushes through what becomes known as the modern-day ride cymbal pattern. This research examines a wide array of drummers and bandleaders, with the objective of identifying the earliest recordings of this important addition to jazz drumming, and popular music history while analyzing the ride cymbal pattern's evolution through definitive recordings. The study begins with the earliest known recordings that clearly display the pattern as it is played on any of the instruments mentioned above. The research concludes with the jam sessions of the early 1940s at Minton's Playhouse, where the pioneer of bebop drumming, Kenny Clarke, experimented with altering the pattern. At this point, the pattern reach its final level of maturity and has since experienced no subsequent major modification. The historical and geographical analysis uses relevant literature from the field of jazz history in order to interpret and evaluate the impact of the the overall trajectory of the music and players. By surveying newspaper and magazine articles, archival interviews, and photographic sources, combined with audio and film analysis, it is clear that drummers navigated a path to the maturation of the pattern.

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34

Lovell, Jeffrey. "An Exploration of Melody, Harmony, and Improvisation in the Music of Stevie Wonder." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12947.

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In this dissertation, I examine Stevie Wonder's compositional style from his celebrated "classic period," (1972-1976) focusing specifically on the concentrated two-year time span from 1972-1974 marked by his unparalleled creative output that launched him into superstardom. My study operates on the premise that most melodic relationships are governed by a fundamentally pentatonic process and that harmonic relationships are largely governed by jazz-influenced tonal processes. I have transcribed dozens of examples from the time period under review in order to survey the expressive interaction between these two related but distinct systems and the resulting effect their usage has on melody and harmony. Using Schenkerian reductive analysis as my primary tool, I uncover recurring patterns that shape and shed light on his style. The final chapter of this study focuses on the ways in which Wonder's improvised melodic lines relate to the voice-leading framework of the basic melodic ideas in his performance of "I Love Every Little Thing About You" and also the ways in which his improvisation impacts forward motion in the course of this song.

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35

Karns, Keith. "Woody Shaw: Development of Style in Three Versions of "The Moontrane”." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849774/.

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Woody Shaw is one of the most influential jazz trumpet players of the past fifty years. Despite his importance, very few models exist that contextualize Shaw's improvisatory approach inside modern jazz pedagogy. Writers such as Rex Richardson, Eric O'Donnell, and Gavin Franklin have identified key elements of Shaw's style, and have begun a critical examination of Shaw's music. While extensive, these approaches do not take into consideration the impact free jazz had on Shaw's technique, nor do they provide a model for how to duplicate Shaw's style. This project examines four elements of Shaw's style as seen in three improvised solos on "The Moontrane." These solos are taken from early, middle, and late stages of Shaw's career. By studying scale choice, sequence and the sequential treatment of motifs, pentatonic approaches to harmonic sequence, and atypical rhythmic phrasing, this study is able to show (1) how these elements developed over the totality of Shaw's career, (2) provide a better understanding of Shaw's improvisational style, and (3) provide a basis for implementing these procedures in modern music.

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36

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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37

Betzer, Jennifer. "The Innovation and Influence of Jazz Harpist Dorothy Ashby (1932-1986)." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703423/.

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A comparative analysis of the musical transcriptions of Dorothy Ashby with those of her predecessors proves that Ashby was a uniquely powerful and innovative influence on the genre of jazz harp. This dissertation begins with a summative biography of Ashby, following her education in both jazz and classical music through to her career highlights as a performer, arranger and composer. An analysis of Ashby's recordings reveals the development of her groundbreaking musical style throughout her life. This paper also examines Ashby's social activism through musical theatre, especially with regards to combating racism. Next, a brief biography of jazz harp forerunners Casper Reardon and Adele Girard precedes a comparative analysis of Reardon's "Aint' Misbehavin" with Ashby's "Soft Winds" and a comparative analysis of Girard's "Harp Boogie" with Ashby's "Blues for Mr. K." Finally, myriad examples of current musicians covering and sampling her work confirm the paramount and lasting influence of Dorothy Ashby's music.

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38

Simon, Scott J. "A multi-dimensional entropy model of jazz improvisation for music information retrieval." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4929/.

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Jazz improvisation provides a case context for examining information in music; entropy provides a means for representing music for retrieval. Entropy measures are shown to distinguish between different improvisations on the same theme, thus demonstrating their potential for representing jazz information for analysis and retrieval. The calculated entropy measures are calibrated against human representation by means of a case study of an advanced jazz improvisation course, in which synonyms for "entropy" are frequently used by the instructor. The data sets are examined for insights in music information retrieval, music information behavior, and music representation.

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39

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.

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40

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.

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41

Freedy, David Rawlings. "Brecker's Blues: transcription and theoretical analysis of six selected improvised blues solos by jazz saxophonist Michael Brecker." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1063851435.

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42

Mounzer, Jason. "Law of the Shortest Way and Jazz Improvisation: A Voice-Leading Model for the Analysis of "'Round Midnight"." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38196.

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This thesis presents a method of analyzing jazz improvisation and jazz style by using a voice-leading model called “Top Lines.” It compares three separate performances of Thelonious Monk’s “’Round Midnight” by Monk, Gerry Mulligan, and Wes Montgomery. The term Top Lines refers to a voice-leading procedure created by moving as little as possible between chords tones (roots, thirds, fifths, sevenths, and upper functions) of a chordal progression. Top Lines are potential voice-leading lines in the uppermost register and follow the “Law of the Shortest Way.” The thesis defines Top Lines, shows how they interconnect, and ultimately how the improvisor navigates through and manipulates them. Jazz harmony and improvisation have been explored by scholars such as Mark Levine (1989, 1995), Steve Larson (2005), Henry Martin (1988, 1996), and Steven Strunk (1996). Although many scholars deal with coherence and structure in the improvisation, their discussions focus on voice leading coherence and structure in improvisations, where this thesis differs is it provides a voice-leading model on a small scale within the improvisation itself. The model presented in this thesis raises the notion of describing jazz improvisation not simply as a motion from one chord tone to another, but instead as motion between voice leading Top Lines. These motions between Top Lines create coherence and motives—called “Particles”— in one’s improvisation. Particles ultimately demonstrate stylistic features in one’s improvisation, motivic connections, and coherence. The thesis concludes by describing how the Top Line model can be applied to jazz performance and jazz pedagogy. The thesis will be of interest to scholars of jazz theory, musicology, pedagogy, and jazz performance.

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43

Seong, Sekyeong. "Bagatelles No. 6 and No. 8, Op. 59 by Nikolai Kapustin:Background, Analysis, and Performance Guideline." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429867811.

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44

Stewart, Neal Edward. "Non-lyrical democracy : a rhetorical analysis of Miles Davis' Kind of Blue." Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/902.

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45

Binek, Justin. "The Evolution of Ella Fitzgerald's Syllabic Choices in Scat Singing: A Critical Analysis of Her Decca Recordings, 1943-52." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984212/.

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This study examines the evolution of Ella Fitzgerald's scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald's melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician's style; the study examines the changes in Ella Fitzgerald's syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing.

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46

Wunch, Rebecca Lynn. "The merger of jazz and twentieth century a performance analysis of Donald Martino's A set for clarinet /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1196200383.

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47

Montgomery, Clyde. "A comparative analysis of teacher behavior of jazz and concert ensemble directors in selected Oklahoma high schools /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1986.

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48

Strother, Eric Scott. "The development of Duke Ellington's compositional style a comparative analysis of three selected works /." Lexington, Ky. : [University of Kentucky Libraries], 2001. http://lib.uky.edu/ETD/ukymuth2001t00012/thesistext.pdf.

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Thesis (M.A.)--University of Kentucky, 2001.
Title from document title page. Document formatted into pages; contains viii, 69 p. : ill. Includes abstract. Includes bibliographical references (p. 67-68).

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49

Williams, Karen. "Key success factors in managing the visitor experience at the Cape Town International Jazz Festival / Williams K." Thesis, North-West University, 2011. http://hdl.handle.net/10394/7611.

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The event tourism industry is one of the fastest growing tourism industries worldwide. One type of event that is growing immensely is festivals, especially music festivals such as the Cape Town International Jazz Festival. As a result of the fast growing pace of festivals, it has become crucial for a festival to sustain itself in the market place to stay competitive. The Cape Town International Jazz Festival (the Jazz Festival) is a fast growing music festival and hosts numerous well–known local and international jazz artists, as well as young up–and–coming artists. For this exciting Jazz Festival to keep growing, it needs to be sustainable. To achieve this, the organisers and managers of the Jazz Festival need to know what is important to the visitors of the Jazz Festival, so they can fulfil their needs. This in turn leads to satisfied visitors that will return to the Jazz Festival and keep the festival sustainable. Generally speaking, music festivals have a more professional management approach than other tourism events and thus are more likely to be more successful. Key Success Factors (KSFs) are a precondition for the success of any event and will influence the competitiveness of the event in the market place. It is imperative for organisers to identify the KSFs that are important to the visitors so as to provide them with a satisfactory experience. This will also assist in measuring the achievement of the event’s goals and objectives. The main purpose of this study was to determine the KSFs in managing the visitor experience at the Cape Town International Jazz Festival. To reach this goal, the study is divided into two articles. Research for both articles was conducted at the Cape Town International Jazz Festival through distributing 400 questionnaires randomly throughout the two days of the festival, which was held on 3 and 4 April 2010. Article 1 is titled: “Key aspects for efficient and effective management of the Cape Town International Jazz Festival: a visitor’s perspective”. The main purpose of this article was to identify the Key Success Factors in managing the Cape Town International Jazz Festival, to determine what visitors deemed as important when attending the Jazz Festival. A factor analysis was done to achieve this goal. Results indicated that Hospitality Factors, Quality Venues, Information Dissemination, Marketing and Sales, and Value and Quality are the KSFs that are of importance when managing the Jazz Festival. The results of this article provided festival managers with valuable information when organising an event such as the Cape Town International Jazz Festival. Article 2 is titled: “The importance of different Key Success Factors to different target markets of the Cape Town International Jazz Festival based on travel motives”. The main purpose of this article was to determine whether different target markets that are visiting the Jazz Festival, deemed different KSFs as important, depending on their travel motives. An analysis of variance (ANOVA) was done to determine if there were statistically significant differences between the three clusters and the KSFs that they deemed important. Results showed that the three clusters, namely, Escapists, Culture Seekers and Jazz Lovers, deemed different KSFs as important when they are visiting the Jazz Festival. The results of this article gave festival organisers and marketing managers insight as to which markets to focus scarce marketing resources on and which markets to keep growing, as they will sustain the festival in the long term. Therefore, this research revealed the KSFs that are of utmost importance when managing the Cape Town International Jazz Festival, and that these aspects differ for certain markets. Organisers therefore need to assess the KSFs to provide products that will satisfy the visitor in order for him/her to return each year and keep the festival competitive and sustainable.
Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012.

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50

Satterthwaite, Gregory. "Beyond Fourths and Pentatonics: A Critical Analysis of Selected Recordings of McCoy Tyner from 1962 to 1963." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703303/.

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In this paper, I explore the early musical language of McCoy Tyner. Today, Tyner is recognized mostly for his use of quartal harmony and pentatonic scales despite having made recordings in his early career that reflect a more mainstream approach. In an effort to expand how Tyner is represented, I argue that Tyner's early style was characterized by a graceful balance of tradition and innovation, a masterful blend of bebop syntax with pentatonic melodies and quartal harmonies. The recordings that I analyze and discuss are: "Effendi," "Cousin Mary," and "Newport Romp." I transcribed and analyzed selected portions of these recordings in order to better understand his early musical language as a soloist from 1962 to 1963. A portion of this paper is focused on the early reception of Tyner, which acknowledged him as an accomplished mainstream player with a firm grasp of the jazz tradition. Ultimately, my analysis shows that Tyner's early style was a balance of tradition and innovation, incorporating bebop syntax, pentatonic melodies, and quartal harmonies.

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