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1
Blair, Andrew R., and John C. Camillus. "THE JAZZ BUSINESS: An Analysis of the Jazz Recording Industry." International Jazz Archive Journal 03, no. 4 (April 1, 2012): 18–44. http://dx.doi.org/10.2307/44759225.
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2
Rice, Alan J. "Jazzing It Up A Storm: The Execution and Meaning of Toni Morrison's Jazzy Prose Style." Journal of American Studies 28, no. 3 (December 1994): 423–32. http://dx.doi.org/10.1017/s0021875800027663.
Повний текст джерелаАнотація:
The publication of Toni Morrison's new novel Jazz with its insistent jazzy themes and rhythms will have concentrated the minds of critics on the relationship of her work to America's most important indigenous artistic form, jazz music. However, in their headlong rush to foreground the impact of jazz on Toni Morrison's latest novel critics should be wary of isolating this novel as her only jazz-influenced work. All of her novels have been informed by the rhythms and cadences of a black musical tradition and in this article I want to stress the centrality of jazz music stylistically to her whole corpus of work. Morrison herself has acknowledged the centrality of a musical aesthetic to her work in interview after interview long before the publication of Jazz:…a novel written a certain way can do precisely what spirituals used to do. It can do exactly what blues or jazz or gossip or stories or myths or folklore did – that stuff which was a common wellspring of ideas…Morrison is writing out of an oral tradition which foregrounds musical performances as well as other oral forms. Some critics have acknowledged the importance of jazz to her work, notably Anthony J. Berret in his article “Toni Morrison's Literary Jazz”. But, despite some provocative and illuminating comments, his is not a systematic account of the use of a jazz mode in Morrison's fiction and I wish in this paper to attempt a more rigorous analysis of her early novels, outlining her willed use of a jazz aesthetic as a pivotal structural device.
3
Rothman, K. J. "Longevity of jazz musicians: flawed analysis." American Journal of Public Health 82, no. 5 (May 1992): 761. http://dx.doi.org/10.2105/ajph.82.5.761.
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4
Levinson, Jerrold. "Jazz Vocal Interpretation: A Philosophical Analysis." Journal of Aesthetics and Art Criticism 71, no. 1 (February 2013): 35–43. http://dx.doi.org/10.1111/j.1540-6245.2012.01539.x.
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5
Viljoen, Nicol. "Harmonic classification, analysis and interpretation in jazz." Ars Nova 26, no. 1 (January 1994): 43–60. http://dx.doi.org/10.1080/03796489408566517.
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6
Sawyer, Keith. "Improvisational creativity: An analysis of jazz performance." Creativity Research Journal 5, no. 3 (January 1992): 253–63. http://dx.doi.org/10.1080/10400419209534439.
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7
Choi, Andrew. "Jazz Harmonic Analysis as Optimal Tonality Segmentation." Computer Music Journal 35, no. 2 (June 2011): 49–66. http://dx.doi.org/10.1162/comj_a_00056.
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8
GLEISER, PABLO M., and LEON DANON. "COMMUNITY STRUCTURE IN JAZZ." Advances in Complex Systems 06, no. 04 (December 2003): 565–73. http://dx.doi.org/10.1142/s0219525903001067.
Повний текст джерелаАнотація:
Using a database of jazz recordings we study the collaboration network of jazz musicians. We define the network at two different levels. First we study the collaboration network between individuals, where two musicians are connected if they have played in the same band. Then we consider the collaboration between bands, where two bands are connected if they have a musician in common. The community structure analysis reveals that these constructions capture essential ingredients of the social interactions between jazz musicians. We observe correlations between recording locations, racial segregation and the community structure. A quantitative analysis of the community size distribution reveals a surprising similarity with an e-mail based social network recently studied.
9
Sanchirico, Andrew. "Is Conventional Jazz History Distorted by Myths?" Journal of Jazz Studies 8, no. 1 (July 17, 2012): 55. http://dx.doi.org/10.14713/jjs.v8i1.30.
Повний текст джерелаАнотація:
<p>A recent book by jazz musician Randall Sandke strongly criticizes jazz writers and scholars for presenting a biased and misleading picture of jazz history. His basic thesis is that, because of ideology, the standard jazz texts exaggerate the importance of African American culture in the development of jazz, thereby creating a mythology of jazz. This article examines one aspect of Sandke’s thesis: his assertion that the myths created by earlier jazz writers are being perpetuated by present day writers. A content analysis of jazz history books published since 1990 indicates that Sandke’s assertion is largely false. Only one of seven myths that he identified appears with any regularity in the current jazz history books. The six other myths are rarely if ever found in the literature. After describing these findings, the article draws some conclusions.</p>
10
May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (October 2003): 245–58. http://dx.doi.org/10.2307/3345377.
Повний текст джерелаАнотація:
The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only one factor, suggesting that instrumental jazz improvisation is a single construct. Stepwise multiple regression revealed self evaluation of improvisation as the single best predictor of achievement in instrumental jazz improvisation with aural imitation ability as the second best predictor.
11
Bălan, Florin. "Fundamental Analysis of Chick Corea’s Improvisation in Spain (1972)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 99–110. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.07.
Повний текст джерелаАнотація:
"Modern jazz can be considered an equal part of modern music, owing to the numerous experiments, at times considered strange or not really agreed by the audience. When talking about modern musical life and the possibilities for making music in a proper manner, no doubt that the value and genius of composers like Wolfgang Amadeus Mozart or Ludwig van Beethoven must be recognized. However, one must also realize that modern life, with its modern, contemporary music is also needed. The great jazz saxophonist, Charlie Parker considered improvisation the middle of the earth, the place where, if only for a few brief moments, one can be the best and the greatest composer in the world. Furthermore, the idea of a song (theme) is the only reason for musicians to come and elaborate together, with variational spontaneity, a unique and maybe unrepeatable musical manifestation. The works of Chick Corea reflect this point of view, as the analysis of the work Spain (1972), discussed in the article bellow, will demonstrate. The work represents the fusion between Spanish music and the compositional methods of modern jazz music, reflecting Corea’s unique style. Improvisation lies at the basis of this composition, offering the musician a multitude of possibilities for expressing his ideas regarding freedom and human nature. Keywords: jazz, piano improvisation, spontaneity, creativity, harmonical knowledge, contemporary "
12
Yan, Alycia Fong, Richard Smith, Benedicte Vanwanseele, and Claire Hiller. "Mechanics of Jazz Shoes and Their Effect on Pointing in Child Dancers." Journal of Applied Biomechanics 28, no. 3 (July 2012): 242–48. http://dx.doi.org/10.1123/jab.28.3.242.
Повний текст джерелаАнотація:
There has been little scientific investigation of the impact of dance shoes on foot motion or dance injuries. The pointed (plantar-flexed) foot is a fundamental component of both the technical requirements and the traditional aesthetic of ballet and jazz dancing. The aims of this study were to quantify the externally observed angle of plantar flexion in various jazz shoes compared with barefoot and to compare the sagittal plane bending stiffness of the various jazz shoes. Sixteen female recreational child dancers were recruited for 3D motion analysis of active plantar flexion. The jazz shoes tested were a split-sole jazz shoe, full-sole jazz shoe, and jazz sneaker. A shoe dynamometer measured the stiffness of the jazz shoes. The shoes had a significant effect on ankle plantar flexion. All jazz shoes significantly restricted the midfoot plantar flexion angle compared with the barefoot condition. The split-sole jazz shoe demonstrated the least restriction, whereas the full-sole jazz shoe the most midfoot restriction. A small restriction in metartarsophalangeal plantar flexion and a greater restriction at the midfoot joint were demonstrated when wearing stiff jazz shoes. These restrictions will decrease the aesthetic of the pointed foot, may encourage incorrect muscle activation, and have an impact on dance performance.
13
Piecek, Monika, and Angelika Güsewell. "Jazz education in Western Switzerland in the 1970s and 1980s." European Journal of Musicology 16, no. 1 (December 31, 2017): 60–80. http://dx.doi.org/10.5450/ejm.2017.16.5779.
Повний текст джерелаАнотація:
This article aims to complement the understanding of the implementation, expansion, and formalisation of jazz education as well as of how jazz was learnt and taught in the 1970s and 1980s in the Western, French-speaking, part of Switzerland. Focussing on this specific geographical context, it takes a close look at the transition from traditional, informal learning to what are considered as more formal realms of learning in jazz education. Drawing both on documentary analysis and in-depth, semi-structured interviews conducted with former students, directors, and teachers of the first jazz schools and jazz departments, it provides a description of the Swiss jazz educational landscape at its beginnings. Two educational models that emerged are compared in the light of the formal-informal spectrum. Finally, the music training trajectories of nine students who attended the newly created settings for jazz learning are analysed. Special attention is given to learning practices, skills transfer and the processes of access to and appropriation of music learning environments. These analyses provide evidence of the flexibility and shifting character of organisational boundaries and educational practices during the implementation of new patterns of music learning.
14
Banks, Mark. "MacIntyre, Bourdieu and the practice of jazz." Popular Music 31, no. 1 (January 2012): 69–86. http://dx.doi.org/10.1017/s0261143011000468.
Повний текст джерелаАнотація:
AbstractThis article offers a sociological account of the labour of jazz musicians. The first part is concerned with elaborating a theory of jazz work based on Alasdair MacIntyre's notion of social practices. Applying this theory to recent empirical work with British jazz musicians, the article reveals how the virtuous pursuit of specific ‘internal goods’ is judged to be particularly prominent in jazz, suggesting that it might constitute an ethical practice in MacIntyrean terms. While MacIntyre's theory is argued to offer a congenial framework for an analysis of jazz, it is then compared and contrasted with more established readings of jazz practice – based on the work of Pierre Bourdieu – which suggest more objective and instrumental motivations for working in jazz. The article concludes by evaluating the relative merits of each approach.
15
Gusejnova, Dina. "Jazz Anxiety and the European Fear of Cultural Change: Towards a Transnational History of a Political Emotion." Cultural History 5, no. 1 (April 2016): 26–50. http://dx.doi.org/10.3366/cult.2016.0108.
Повний текст джерелаАнотація:
From the interwar period onwards, music now known as jazz transcended geographic and political boundaries thanks to increased mobility and new media. Commonly associated with American mass culture, jazz music and jazz musicianship evoked strong emotions, ranging from love to hate. In this paper, feelings about jazz as a new form of cultural anxiety are the main subject of analysis. By looking at jazz as an emblem of different kinds of fear of the non-European, we can reconstruct the changing perception of Europe's internal frontiers from the dissolution of Europe's continental empires to the early Cold War.
16
Larson, Steve. "Schenkerian Analysis of Modern Jazz: Questions about Method." Music Theory Spectrum 20, no. 2 (October 1998): 209–41. http://dx.doi.org/10.2307/746048.
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17
Larson, Steve. "Schenkerian Analysis of Modern Jazz: Questions about Method." Music Theory Spectrum 20, no. 2 (October 1998): 209–41. http://dx.doi.org/10.1525/mts.1998.20.2.02a00020.
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18
Veillon, Joshua, Juliette W. Ioup, and Michael White. "Signal analysis of New Orleans jazz clarinet sounds." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2605. http://dx.doi.org/10.1121/1.5014533.
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19
Kenny, Barry. "Jazz Analysis as Cultural lmperative (and other urban myths): a Critical Overview of Jazz Analysis and its Relationship to Pedagogy." Research Studies in Music Education 13, no. 1 (December 1999): 56–80. http://dx.doi.org/10.1177/1321103x9901300106.
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20
Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.
Повний текст джерелаАнотація:
Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).
21
Smith, Derek T. "Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 217–35. http://dx.doi.org/10.1177/0022429409343549.
Повний текст джерелаАнотація:
The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record two improvisations accompanied by an Aebersold play-along compact disc . Sixty-three adjudicators evaluated the 12 improvisations using the WJIES and the Instrumental Jazz Improvisation Evaluation Measure. Reliability was good,with alpha values ranging from .87 to .95. Construct validity for the WJIES was confirmed through the analysis of a multitrait-multimethod matrix.The results of this study indicate that the facet-rational approach is an effective method of developing a rating scale for collegiate wind jazz improvisation performance.
22
Palmer, C. Michael. "Instrumental Jazz Improvisation Development." Journal of Research in Music Education 64, no. 3 (August 23, 2016): 360–78. http://dx.doi.org/10.1177/0022429416664897.
Повний текст джерелаАнотація:
The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants ( N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were collected using four researcher-designed instruments: (a) Participant Improvisation Experience Survey (PIES), (b) Improvisation Achievement Performance Measure (IAPM), (c) Aural Imitation Measure (AIM), and (d) the Jazz Theory Measure (JTM). Results indicate that aural imitation ability and technical facility are fundamental skills supporting jazz improvisation achievement. Other contributing factors include improvisation experience, jazz experience, practicing improvisation, perceived self-confidence, self-assessment, and jazz theory knowledge. Further analysis of results led to improvisation being viewed from a developmental perspective and achievement levels being distinguished on a developmental continuum (i.e., novice, intermediate, advanced) based on performance evaluations within musical categories (i.e., rhythm/time feel, harmony, melody/rhythmic development, style, expressivity, and creativity).
23
Johnson-Laird, P. N. "How Jazz Musicians Improvise." Music Perception 19, no. 3 (2002): 415–42. http://dx.doi.org/10.1525/mp.2002.19.3.415.
Повний текст джерелаАнотація:
This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new melodies that fit the chord sequence. The corresponding algorithm must operate rapidly in real time, and so it minimizes the computational load on working memory. The principle of algorithmic demands is supported by analysis and a computer model.
24
Mizoguchi, Yasuaki, Tsukasa Urakawa, and Hitoshi Kurabayashi. "Safer return to jazz dance instruction after simultaneous bilateral total hip arthroplasty." BMJ Case Reports 14, no. 7 (July 2021): e243214. http://dx.doi.org/10.1136/bcr-2021-243214.
Повний текст джерелаАнотація:
To describe the case of a 48-year-old Japanese female patient with more than two decades of experience in jazz dance instructor returning to work after simultaneous bilateral total hip arthroplasty (SBTHA). We provided her with a tailored postoperative physical therapy programme considering her preoperative activity level and skills using three-dimensional motion analysis for guidance. The patient returned to jazz dance instruction 8 months after undergoing SBTHA, and her disease-specific quality of life assessment score at 1-year postsurgery was almost perfect. Use of three-dimensional motion analysis helped facilitate our assessment of whether her hip angle was within the acceptable range for teaching the compound movements necessary in jazz dance, but her preoperative experience was crucial in determining her full-scale participation in jazz dance. At present, 7 years since the surgery, the patient is able to continue jazz dancing, the THA component remains stable.
25
Ciorba, Charles R., and Brian E. Russell. "A Proposed Model of Jazz Theory Knowledge Acquisition." Journal of Research in Music Education 62, no. 3 (September 12, 2014): 291–301. http://dx.doi.org/10.1177/0022429414542979.
Повний текст джерелаАнотація:
The purpose of this study was to test a hypothesized model that proposes a causal relationship between motivation and academic achievement on the acquisition of jazz theory knowledge. A reliability analysis of the latent variables ranged from .92 to .94. Confirmatory factor analyses of the motivation (standardized root mean square residual [SRMR] = .067) and jazz theory (SRMR = .063) measures indicated a good fit of the predicted model to the observed data. Results of the latent path model indicated good fit (χ2 = 20.08, p = .692, df = 24, N = 102) and large, positive, and statistically significant direct effects of motivation (β = 0.65) and academic achievement (β = 0.56) on jazz theory knowledge acquisition. The successful identification of this proposed model lends enough support for continued investigation into the process surrounding the acquisition of jazz theory knowledge.
26
Coggiola, John C. "The Effect of Conceptual Advancement in Jazz Music Selections and Jazz Experience on Musicians' Aesthetic Response." Journal of Research in Music Education 52, no. 1 (April 2004): 29–42. http://dx.doi.org/10.2307/3345523.
Повний текст джерелаАнотація:
This study is an investigation of what musicians consider to be their aesthetic experience with jazz music selections that vary in level of conceptual advancement (melodic complexity during improvised solos). Music major participants (N = 128) were assigned to either the jazz musician (n = 64) or nonjazz musician (n = 64) group. Data were gathered as participants manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate the magnitude of their aesthetic responses as they listened to four audio selections. Written responses were collected following each session via a questionnaire. Statistical analysis of group responses indicated a significant difference between the two participant groups only for the most conceptually advanced selection. An analysis of group graphs indicated that jazz musician participants rated this same selection higher. These findings suggest that greater instrumental jazz ensemble experience is related to greater aesthetic interest when listening to a jazz selection containing a high level of conceptual complexity.
27
Thorsen, Hilary, and M. Pattuelli. "Designing a Crowdsourcing Tool to Analyze Relationships Among Jazz Musicians: The Case of Linked Jazz 52nd Street." Proceedings of the AAAI Conference on Human Computation and Crowdsourcing 1 (November 3, 2013): 72–73. http://dx.doi.org/10.1609/hcomp.v1i1.13101.
Повний текст джерелаАнотація:
We discuss the design of Linked Jazz 52nd Street, a crowdsourcing tool using linked data technology to build a social network of jazz musicians through the analysis of their personal and professional relationships.
28
Morozova, Ekaterina V. "Jazz Terminology in the English-Language Media Discourse: the First Half of the 20th Century." Вестник Пермского университета. Российская и зарубежная филология 14, no. 2 (2022): 42–53. http://dx.doi.org/10.17072/2073-6681-2022-2-42-53.
Повний текст джерелаАнотація:
The article is devoted to the formation of the terminology of jazz as a musical genre in the English-language media discourse in the first half of the 20th century. Modern studies of terminology show that terms are associated with special vocabulary and professional communication, and can transfer to terminology from the common language. Professional vocabulary, in turn, belongs to special vocabulary along with terms, but the former can also become the latter in the absence of a terminological equivalent. In art terminology, including musical terminology, a large number of professionalisms are noted. Of musical terminology, the terminology of jazz is of particular interest since its formation took place at the junction of classical musical terminology and English-language professional vocabulary. The article compares three periods in the development of jazz music as presented in the media and describes the formation of jazz terminology in media discourse. The material under study is archival texts of American newspapers of the first half of the 20th century devoted to jazz, which were divided into three sub-corpuses in accordance with the period of publication (1900-1920, 1920-1945, 1945-1950). The contexts of the use of jazz music nominations were extracted from this material, and the nominations were divided into groups: classical and non-classical terms, borrowed and English-language terms. The research methods used include content analysis, component analysis, analysis of vocabulary and contextual definitions. The study revealed that the terminology of jazz of the first half of the 20th century is mainly represented by English-language non-classical nominations and, to a lesser extent, by classical terms from the European academic musical tradition.
29
Shevchenko, Anastasiia, and Olga Lobova. "Methodology of the formation of the teen-agers’ vocal and jazz culture at classes on pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 80–87. http://dx.doi.org/10.24195/2617-6688-2019-2-12.
Повний текст джерелаАнотація:
The importance of the development of individual’s general culture as a factor of his / her harmonious education stipulates the relevance of the study. The purpose of the article is to describe the methods enabling the formation of teen-agers’ vocal and jazz culture at classes on pop singing (in musical schools and during extra-class activities in institutions of general secondary education). Methods of systematization and generalization of scientific sources, theoretical modelling, pedagogical experiment and so on have been used to achieve this goal. The scientific approaches (systemic-structural, personality-developmental, activity-oriented, competence-based, cultural ones) and didactic principles facilitating the formation of the vocal and jazz culture (the principles of systematicity, visual aids, unity of artistic-emotional, technical and complex development of the vocal and jazz culture) have been determined. The stages (motivational-stimulating, cognitive-developmental, performing-creative) as well as pedagogical conditions for the formation of the teen-agers’ vocal and jazz culture have been outlined: construction of educational process taking into account the children’s capabilities to perceive vocal and jazz music; systematic complex development of all the components of the vocal and jazz culture consistently emphasizing them at different stages of the training; giving the opportunities for vocal and creative self-realization, diversification of the experience of jazz musical performing activities. General vocal and pedagogical methods have been revealed to be the leading ones (concentric, search-oriented, phonetic, imaginary or internal singing methods, comparative analysis); special methods enabling the formation of the teen-agers’ vocal and jazz culture have been determined: “a listening-jazz collecting box”, technical vocal and jazz exercises, creative vocal and jazz drills, etc. The experimental verification of the developed methodology has proved its effectiveness at classes on singing variety music at establishments of general secondary education. Keywords: teen-agers’ vocal and jazz culture, developing methods, scientific approaches and didactic principles, stages, pedagogical conditions and methods, classes on vocal and jazz singing.
30
Goodrich, Andrew. "Peer Mentoring in a High School Jazz Ensemble." Journal of Research in Music Education 55, no. 2 (July 2007): 94–114. http://dx.doi.org/10.1177/002242940705500202.
Повний текст джерелаАнотація:
The use of peer mentoring in a successful high school jazz band was explored during one academic year of instruction using ethnographic techniques. Participants included primary informants (student jazz band members, director, assistant director, adult mentors) and secondary informants (guidance counselor, principal, parents, nonjazz band member students). Data analysis revealed that peer mentoring contributed to the success of a high school jazz band. Five themes emerged: (a) mentoring from the adult perspective, (b) peer mentoring for musicianship, (c) mentoring in rehearsals, (d) mentoring outside jazz band rehearsals, and (e) social mentoring. Suggestions for teacher educators include supporting, developing, and implementing peer mentoring, which can aid directors in instruction and rehearsal efficiency.
31
Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.
Повний текст джерелаАнотація:
Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand – the issues of historiography and style formation. However, focusing mainly on the identification of specific methods of using individual elements of the entire complex of music and expressive means of jazz art, scientists are less interested in the study of more «in-depth» issues, such as interpretation in jazz art, form building, semiotic and hermeneuticmethods of jazz music evaluation, musical dramaturgy. The concept of jazzmusic making remains unexplored. In our understanding, the study of musical dramaturgy deserves special attention, because at its level the coordinates of jazz music as a complex improvisation process converge. Objectives. The purpose of the article is to identify and study the main factors that determine the principles of formation of jazz musical dramaturgy at the level of solo piano composition. It is the improvisational nature of the composing and performing arts as well as the absence of a detailed musical notation that indicate the need to study the subject and an attempt to provide its scientific substantiation. Methods. The methodology of the study includes analytical, comparative, systematic and stylistic methods. This methodological basis allows us to identify the principles of jazz musical dramaturgy from the standpoint of piano jazz art, which, in the author’s opinion, gives an opportunity to speak about the peculiarities of organizing a musical text with the texture of different types of arrangement. Results. Over the last decades, jazz, without losing its specificity, has increasingly shown a tendency to interpenetrate with academic musical art, and at the same time become universal. An example of this could be the creative work of the renowned Kharkov jazz pianist Sergey Davydov. Turning to the specifics of the solo improvisational mastery of the pianist, we should distinguish the following important vectors in his work: commitment to the synthesis of jazz and academic traditions, tendency to polyphonize the textual presentation of the musical text, the use of the sonata principles as a consistent processual development of the whole complex of music and artistic ideas. The subject of the analysis offered in this study is a demonstrative example of the arrangement of the musical text of S. Davidov’s solo improvisation, which he demonstrated at the international festival “S. Rakhmaninov and Ukrainian Culturе”, which took place in Kharkiv in 2007 (the analysis was made on the basis of the video footage). The uniqueness of this example is that the pianist in his improvisation synthesized jazz intonation-rhythmic idiom with constructive and creatively inventive correlation of textural and compositional techniques of S. Rachmanino’s pianism. The conducted analysis confirms that S. Davydov, in addition to using the whole arsenal of specific jazz means of organizing sound fabric, adapts in his improvisation texturally-theatrical principles characteristic of S. Rakhmaninov’s work, and not only at the expense of quoting, but and at the intonational level. The factual organization of the composition, in this case, is based on the use of the potential of large and passage techniques, which brings together S. Davydov’s creative concepts with the aesthetics of virtuosity of European pianist composers of the Romantic period. Solo improvisation is analyzed – a kind of musical recital, which lacks the traditional jazz principle of formation based on variational construction, and is dominated by freely interpreted sonatas. Conclusions. Thus, the basic principles of musical dramaturgy formation in jazz art are: the use of specific jazz means of expression, which in the light of textual organization of the musical text realize the emotional and meaningful tension, forming a clear dramatic outline of the whole composition. Conflict, as a multilayered, comprehensive process of choosing an aesthetic position in the climax, reaches a point of dramatic ignition due to specific performance factors: dynamics, agogics, textural-rhythmic combinations. Not only specific performing skills but also energetic translation of the ideological content of the whole composition are involved in this process. In the context of jazz musical dramaturgy, one more important factor, which is fundamental in both solo and ensemble jazz art, is specific communication. However, when compared to academic music, where the listening strategy is interpreted as a «strategy of co-intonation to the sound form» but in jazz culture it is the listener who, at the level of the performer or interpreter, is a direct participant of musical dramaturgy creation. This is expressed by applause at times of intense tension or after the most successful improvisation of one of the ensemble members. Summarizing all the above, on the basis of the analysis we have tried to give our corrections to the concept of «musical dramaturgy in jazz» – is a thematic process of juxtaposition and interaction of elements of jazz language that contains various polystylistic complexes of Western European academic art, directing the energy of communication to the higher artistic unity of a jazz work.
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Shim, Eunmi. "Analysis of Jazz: A Comprehensive Approach by Laurent Cugny." Notes 77, no. 3 (2021): 432–35. http://dx.doi.org/10.1353/not.2021.0013.
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Frieler, Klaus, and Wolf-Georg Zaddach. "Evaluating an Analysis-by-Synthesis Model for Jazz Improvisation." Transactions of the International Society for Music Information Retrieval 5, no. 1 (February 3, 2022): 20. http://dx.doi.org/10.5334/tismir.87.
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Martin, Henry. "Jazz Theory and Analysis. An Introduction and Brief Bibliography." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 1–2, no. 2/2–3 (2005): 169–71. http://dx.doi.org/10.31751/523.
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Balke, Stefan, Julian Reck, Christof Weiß, Jakob Abeßer, and Meinard Müller. "JSD: A Dataset for Structure Analysis in Jazz Music." Transactions of the International Society for Music Information Retrieval 5, no. 1 (2022): 156–72. http://dx.doi.org/10.5334/tismir.131.
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Mazlan, Chamil Arkhasa Nikko, and Mohd Hassan Abdullah. "UTILIZING PRAGMATISM PRINCIPLES IN LEARNING JAZZ GUITAR REHARMONIZATION TECHNIQUE USING MALAY ASLI SONG." International Journal of Applied and Creative Arts 3, no. 1 (June 30, 2020): 54–66. http://dx.doi.org/10.33736/ijaca.2188.2020.
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This article proposes a pragmatism approach useful in explaining the logic of learning jazz guitar reharmonization techniques. Music and practices are both unseparated and unified in the field of music education. This poses challenges for traditional and western music consolidation because reharmonization technique is only known in western music repertoires while traditional music normally utilizes old-style repertoires. Some practitioners rooted in dogmatic thinking still maintain authenticity and traditions. In this study, our data is gathered using qualitative content analysis. We then identified similarity of pragmatism principles along with the interpretation of jazz reharmonization techniques. We suggest that pragmatism approach is a useful pathway for music educators to reconceptualize teaching and learning of traditional music using jazz reharmonization technique and then, recreate and innovate a new sound and context of learning jazz harmony rather than using jazz standards repertoires.
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Brown, Michele D., Turgut Var, and Seokho Lee. "Messina Hof Wine and Jazz Festival: An Economic Impact Analysis." Tourism Economics 8, no. 3 (September 2002): 273–79. http://dx.doi.org/10.5367/000000002101298115.
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The purpose of the study was to estimate the economic impact on Brazos County, Texas, of a proposed weekend Wine and Jazz Festival to be produced by Messina Hof Winery. An economic impact analysis was performed using IMPLAN PRO software. The 1998 value of the US dollar and average weekend festival visitor expenditure data from Messina Hof Winery were used as inputs into the model. The results indicated that this single event would generate $892,981 in total sales output, $324,942 in personal income and the equivalent of 21.8 jobs. The conclusion was that the weekend Wine and Jazz Festival proposed by Messina Hof Winery would have a significant positive economic impact on Brazos County.
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Lie, Siv B. "Genre, Ethnoracial Alterity, and the Genesis of jazz manouche." Journal of the American Musicological Society 72, no. 3 (2019): 665–718. http://dx.doi.org/10.1525/jams.2019.72.3.665.
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Based on the music of legendary guitarist Django Reinhardt, jazz manouche is a popular genre that emerged during the late twentieth century. This article examines the historical development of jazz manouche in relation to ideologies about ethnoracial identity in France. Jazz manouche is strongly associated with French Manouches, the subgroup of Romanies (“Gypsies”) to which Reinhardt belonged. In the decades following Reinhardt's death in 1953, some Manouches adopted his music as a community practice. Simultaneously, critics, promoters, and activists extolled the putative ethnoracial character of this music, giving rise to the “jazz manouche” label as a cornerstone of both socially conscious and profit-generating strategies. Drawing on analysis of published criticism, archival research, and interviews, I argue that ethnoracial and generic categories can develop symbiotically, each informing and reflecting ideologies about cultural identity and its sonic expressions. Jazz manouche grew out of essentializing notions about Manouche identity, while Manouches have been racialized through reductive narratives about jazz manouche. In this case, an investigation of genre formation can inform understandings of ethnoracial identity and national belonging.
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Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.
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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.
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Havas, Ádám. "The logic of distinctions in the Hungarian jazz field: a case study." Popular Music 39, no. 3-4 (December 2020): 619–35. http://dx.doi.org/10.1017/s0261143020000537.
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AbstractThis study aims to make the contemporary Hungarian jazz field the focus of a sociological investigation, based on a critical reinterpretation of Bourdieu's relational theory of artistic fields. It aims to grasp the logic of symbolic distinctions by analysing the free/mainstream dichotomy. This dichotomy of historically constituted poles is understood as a system of structuring oppositions that play a decisive role in the position-takings and prestige-construction of jazz musicians. The analysis of qualitative data shows how different evaluations and interpretations of shared musical references are instrumentalised in order to occupy positions in the field. Further, this article argues that such a qualitative analysis of local jazz fields transcends the national context, since culturally hybrid jazz diasporas offer an excellent terrain for analysing how the circulation of transnational artistic references influences the cultural dynamism of local fields that are embedded within global networks of cultural production.
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Feige, Daniel Martin. "Jazz als künstlerische Musik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.
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Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstlerischer Musik erläutert. Zugleich wird geltend gemacht, dass selbst dieses Spielen von Werken in gewisser Weise noch von der ausgewiesenen Logik der Improvisation bestimmt ist. Interaktion wird so spezifiziert, dass Jazz wesentlich als eine Form eines dialogischen Antwortgeschehens im Medium der Musik verstanden werden muss. Intensität schließlich meint die vor allem, aber keineswegs ausschließlich anhand der rhythmischen Dimension ausweisbare Fokussierung des Jazz auf jeden einzelnen Zug und jedes einzelne Moment seiner Darbietung. Der Jazz erweist sich dabei mit Blick auf seine philosophische Relevanz als eine künstlerische Musik, die wesentliche Aspekte künstlerischer Praxis überhaupt explizit macht.<br><br>The aim of the paper is an analysis of the specific quality of jazz as a kind of artistic music. Three dimensions are brought forward as central for jazz music: improvisation, interaction and intensity. Even though these dimensions are not understood in terms of a definition – as solely necessary and jointly sufficient conditions –, they are meant to be central qualities in our appreciation of jazz music. The logics of improvisation are explored in contrast to the practice of performing a composed work in the European tradition of art music. Despite this difference the thought is articulated that the performance of a composed work is in some way governed by a similar logic. Interaction is specified in terms of jazz being fundamentally a kind of dialogical practice in the medium of music. Intensity finally is spelled out as a certain focus of jazz music toward every single moment of its performance that is mainly but not solely due to its specific rhythmic dimension. Jazz music proves to be a kind of artistic music that renders aspects of artistic practice in general explicit.
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Błażkiewicz, Michalina. "Evaluation of Geometric Attractor Structure and Recurrence Analysis in Professional Dancers." Entropy 24, no. 9 (September 16, 2022): 1310. http://dx.doi.org/10.3390/e24091310.
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Background: Human motor systems contain nonlinear features. The purpose of this study was to evaluate the geometric structure of attractors and analyze recurrence in two different pirouettes (jazz and classic) performed by 15 professional dancers. Methods: The kinematics of the body’s center of mass (CoM) and knee of the supporting leg (LKNE) during the pirouette were measured using the Vicon system. A time series of selected points were resampled, normalized, and randomly reordered. Then, every second time series was flipped to be combined with other time series and make a long time series out of the repetitions of a single task. The attractors were reconstructed, and the convex hull volumes (CHV) were counted for the CoM and LKNE for each pirouette in each direction. Recurrence quantification analysis (RQA) was used to extract additional information. Results: The CHVs calculated for the LKNE were significantly lower for the jazz pirouette. All RQA measures had the highest values for LKNE along the mediolateral axis for the jazz pirouette. This result underscores the high determinism, high motion recurrence, and complexity of this maneuver. Conclusions: The findings offer new insight into the evaluation of the approximation of homogeneity in motion control. A high determinism indicates a highly stable and predictive motion trajectory.
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Zhang, Qi. "Lester Young’s performance poetics and performance style: the experience of analysis." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 128–42. http://dx.doi.org/10.34064/khnum1-61.07.
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The research focuses on the system of performance resources of expression of a jazz musician, which received the title of “performance poetics” and “performance style”. L. Young’s creative work has repeatedly been the subject of research, in particularly, in publications by L. Porter (1981) and D. Daniels (1985; 2002; 2005), one of the outstanding biographers of the jazz master. D. Gelly (2007) includes L. Young into the pantheon of the most influential jazz performers reflecting the components of his performance style. J. P. De Lucia (2017) calls L. Young a key figure at the beginning of swing era. The scientific novelty of our study lies in the development of aspects of the analysis of the performance poetics of jazz musicians basing on L. Young’s creativity. The purpose of the article is to identify the parameters of Lester Young’s performance poetics. As the research methods the communicative-interpretative, systematic, stylistic approaches and the performance analysis are used. The analysis of performance poetics is based on the Kharkiv I. P. Kotlyarevsky National University of Arts musicologists’ developments: by L. Shapovalova (2007) devoted to the “performance time-space” concept and Yu.Nikolaievska’s monograph (2020) on the performance interpretology. The results of the study are based on the analysis of L. Young’s compositions the “Squabblin” and the “Blue Devils Blues”; on his work as a soloist-improviser in King Oliver’s orchestra and in the band “Blue Devils”. Conclusion supports the idea of performance poetics as an artistic system, which is a “reflection of the musician’s interpretative thinking” (Nikolaievska, 2020) in such parameters as melody, metro-rhythm, tonality, harmony, texture and the corresponding “toponyms” – articulation, tempo-rhythm, dynamic score, and “toponymics” as performance reproduction of texture. It is articulated оn such positions as unique timbre and sound production (specific position of the mouthpiece), expansion of harmonious thinking (melodic use of fourths and fifths, “horizontal” concept of phrasing). L. Young’s unique performing style is based on the principles of “stretched sound”, “horizontal” concept of improvisation, intense vibrato and the formation of a performance as a reflection act.
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Corcoran, Christopher, and Klaus Frieler. "Playing It Straight." Music Perception 38, no. 4 (April 1, 2021): 372–85. http://dx.doi.org/10.1525/mp.2021.38.4.372.
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The most recognizable features of the jazz phrasing style known as “swing” is the articulation of tactus beat subdivisions into long-short patterns (known as “swing eighths”). The subdivisions are traditionally assumed to form a 2:1 beat-upbeat ratio (BUR); however, several smaller case studies have suggested that the 2:1 BUR is a gross oversimplification. Here we offer a more conclusive approach to the issue, offering a corpus analysis of 456 jazz solos using the Weimar Jazz Database. Results indicate that most jazz soloists tend to play with only slightly uneven swing eighths (BUR = 1.3:1), while BURs approaching 2:1 and higher are only used occasionally. High BURs are more likely to be used systematically at slow and moderate tempi and in Postbop and Hardbop styles. Overall, the data suggests that a stable 2:1 swing BUR for solos is a conceptual myth, which may be based on various perceptual effects. We suggest that higher BURs are likely saved for specific effect, since higher BURs may maximize entrainment and the sense of groove at the tactus beat level among listeners and performers. Consequently our results contribute with insights relevant to jazz, groove, and microrhythm studies, practical and historical jazz research, and music perception.
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Mazlan, Chamil Arkhasa Nikko. "Utilizing Pragmatism Approach in Learning Jazz Guitar Reharmonization Technique using Malay Asli Song." JURNAL SENI MUSIK 9, no. 1 (June 18, 2020): 50–57. http://dx.doi.org/10.15294/jsm.v9i1.37376.
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Details of developing jazz guitar reharmonization learning book using Malay Asli song will not discuss here, however, this article divulges pragmatism approach that can be transcending in explaining logic between learning jazz guitar reharmonization techniques using Malay Asli Song. Although music is a universal language, traditional music and western music educators do not come to an agreement diffusing learning western music elements such in traditional music or vice versa. As a result, reharmonization technique only become known on western music repertoires. While traditional music practitioners presenting the same old repertoires, with deep-rooted dogmatic excuses to maintain what they called traditional authentic values. To conduct this study, relevant data on pragmatism was done through document analysis. The result show pragmatism approach can help music educators to reconceptualize teaching and learning traditional music using jazz reharmonization technique to recreate and innovate a new sound and contextual of learning jazz harmony, not just using on jazz standards repertoires, in making music theory beneficial to both traditional and modern music educators and students.
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Watson, Kevin E. "A Comparative Analysis of Method Books for Class Jazz Instruction." Update: Applications of Research in Music Education 36, no. 1 (February 16, 2017): 5–11. http://dx.doi.org/10.1177/8755123317692640.
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The purpose of this study was to analyze and compare instructional topics and teaching approaches included in selected class method books for jazz pedagogy through content analysis methodology. Frequency counts for the number of pages devoted to each defined instructional content category were compiled and percentages of pages allotted to each category were calculated. Analyses of supplementary media consisted of noting the duration in seconds that each excerpt devoted to illustrating concepts in each instructional content category. Results indicated that the largest amount of content was devoted to arrangements of tunes for group performance (34%), rhythm section pedagogy (13%), and suggested rehearsal techniques (10%). Of note, the categories of improvisation and aural training each comprised only 3% of the surveyed content. Pedagogical approaches to the emphasized instructional areas were identified and discussed within the context of prior research in jazz pedagogy.
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Dirgualam, Oki, Dadang Suganda, Buky Wibawa, and Kunto Sufianto. "ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER." Paradigma: Jurnal Kajian Budaya 11, no. 1 (April 29, 2021): 99. http://dx.doi.org/10.17510/paradigma.v11i1.420.
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<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a descriptive analysis method. Through a process of appreciation, habituation, additional insight into jazz music and continuous and consistent practice, Salamander Big Band members can adapt to cultures from outside Indonesia's popular music culture, namely playing American big band music with the right aesthetic.</p>
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Devroop, Karendra. "The Occupational Aspirations and Expectations of College Students Majoring in Jazz Studies." Journal of Research in Music Education 59, no. 4 (November 15, 2011): 393–405. http://dx.doi.org/10.1177/0022429411424464.
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This study was designed to investigate the occupational aspirations and occupational expectations of college students majoring in jazz studies in the United States. Participants included the population of jazz studies majors ( N = 211) at a large mid-southern university known for its prestigious and internationally recognized jazz program. A response rate of 85% was obtained. Occupational aspirations and occupational expectations were measured on the Jazz Occupational Prestige Index. Results indicated that students aspired to more prestigious occupations but expected to be employed in occupations less prestigious when considering the realities of the job market. A small percentage of students (4.7%) aspired to teach while a higher percentage (15.8%) expected to be engaged in teaching as a profession. The analysis of relationships between variables revealed a low positive relationship between occupational aspiration and support from significant others. All other relationships were negligible.
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Witkin, Robert W. "Why Did Adorno “Hate” Jazz?" Sociological Theory 18, no. 1 (March 2000): 145–70. http://dx.doi.org/10.1111/0735-2751.00092.
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Adorno's jazz essays have attracted considerable notoriety not only for their negative and dismissive evaluation of jazz as music but for their outright dismissal of all the claims made on behalf of jazz by its exponents and admirers, even of claims concerning the black origins of jazz music. This paper offers a critical exposition of Adorno's views on jazz and outlines an alternative theory of the culture industry as the basis of a critique of Adorno's critical theory. Adorno's arguments are discussed in the context of his wider theoretical commitment to a model of structuration—in both musical and social relations—that establishes a dividing line between a moral aesthetic praxis that can be approved as having “truth-value” and one that betrays and subverts the truth. In Adorno's analysis, jazz finds itself positioned on the wrong side of that line and, accordingly, is condemned. It is argued that it is Adorno's commitment to a formalist model of art works that has been superseded by modern aesthetic practice in both so-called “serious” art as well as in the works of the culture industries that binds him to a regressive model of aesthetic praxis. An alternative theory of the culture industry is outlined that explores its positive functions in enhancing the resources available for culture creation through its transmission of aesthetic codes, and in mediating relations between so-called high and low art.
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Keller, Robert, Alexandra Schofield, August Toman-Yih, Zachary Merritt, and John Elliott. "Automating the Explanation of Jazz Chord Progressions Using Idiomatic Analysis." Computer Music Journal 37, no. 4 (December 2013): 54–69. http://dx.doi.org/10.1162/comj_a_00201.
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Musicians interested in improvising melodies often benefit from the ability to analyze chord progressions for tonality and from possession of an understanding of a range of idiomatic chord progressions. We describe automated analysis using an approach to representing idioms known as “bricks,” which can also be used in analysis of tonality. The brick nomenclature is attributed to Conrad Cork's “Lego Bricks” approach, as extended by John Elliott. We demonstrate a semi-automatic grammatical approach to analysis of chord sequences and sketch its implementation, which is available in the form of free, open-source software called Impro-Visor.