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1
Oldfather, Penny, and Jane West. "Qualitative Research as Jazz." Educational Researcher 23, no. 8 (November 1994): 22–26. http://dx.doi.org/10.3102/0013189x023008022.
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Mills, Michael K. "Seeing Jazz - Doing Research." International Journal of Market Research 51, no. 3 (January 2009): 1–16. http://dx.doi.org/10.1177/147078530905100309.
Повний текст джерелаАнотація:
This paper uses the metaphor of jazz music-making to contribute to the growing literature concerning the need for a more holistic approach to research, and to suggest directions for research implementation. It suggests researchers can work towards an ‘effortless mastery’ of their craft, and posits potential new forms of evaluation criteria useful in evaluating research (and researcher) quality.
3
McGowan, James, and Robin Desmeules. "Jazz Research Bibliography (2005–2006)." Journal of Jazz Studies 7, no. 1 (February 28, 2011): 145. http://dx.doi.org/10.14713/jjs.v7i1.8.
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McGowan, James, and Robin Desmeules. "Jazz Research Bibliography (2007–2008)." Journal of Jazz Studies 7, no. 2 (November 16, 2011): 266. http://dx.doi.org/10.14713/jjs.v7i2.16.
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Desmeules, Robin. "Jazz Research Bibliography (2009-2010)." Journal of Jazz Studies 8, no. 1 (July 17, 2012): 105. http://dx.doi.org/10.14713/jjs.v8i1.34.
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Porter, Lewis. "Some Problems in Jazz Research." Black Music Research Journal 8, no. 2 (1988): 195. http://dx.doi.org/10.2307/779352.
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Mordue, Tom, and Noel Dennis. "Performing jazz and the jazz constellation." Marketing Theory 17, no. 2 (February 24, 2017): 241–57. http://dx.doi.org/10.1177/1470593116689756.
Повний текст джерелаАнотація:
In this article, we explore the arts/market dualism in jazz from a fresh methodological, empirical and theoretical perspective in which post-structuralist thought on performativity, relational space and actor–networks is used to interrogate the ecology of jazz production and consumption we call ‘the jazz constellation’. In this, we trace the positioning(s) and movements of an increasingly well-known jazz musician via an analytic auto-ethnographical account of being and becoming an authentic jazz musician in the United Kingdom. By this, we give a rich, first-hand account of how the jazz constellation operates at and through the individual level. We then consider the extent of the negative grip the arts/market dualism has on jazz musicians, and ask if it can be overcome or eased in practice. Finally, we provide pointers towards future research that might draw on the post-structuralist approach adopted here.
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West, Chad. "What Research Reveals About School Jazz Education." Update: Applications of Research in Music Education 33, no. 2 (September 10, 2014): 34–40. http://dx.doi.org/10.1177/8755123314547825.
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Suwannabhum, Tayakorn, and Kyle Fyr. "Jazz History in Thailand: From Profession to Music Education." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 83–92. http://dx.doi.org/10.30819/aemr.9-6.
Повний текст джерелаАнотація:
This qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were entertained. The subsequent growth of a jazz society involving musicians, music activists, jazz writers, jazz businesses and foreign-trained graduates became the catalyst for the development of a system that did not rely on formal education. Later, jazz big bands in government organizations, high schools, and universities came into existence. Presently in higher education, the three giants of Mahidol University, Silpakorn University, and Rangsit University offer outstanding music programs. Once considered a singular entity, the growth of jazz education has caused Thai jazz society to spread into various dimensions, including jazz in businesses and activities, performances, and education.
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Suryati, Suryati. "Pemanfaatan YouTube sebagai Media Pembelajaran Vokal Pop Jazz di Prodi Pendidikan Musik Institut Seni Indonesia Yogyakarta." Resital: Jurnal Seni Pertunjukan 22, no. 2 (December 22, 2021): 117–26. http://dx.doi.org/10.24821/resital.v22i2.6040.
Повний текст джерелаАнотація:
Utilizing Youtube as a Learning Media for Pop-Jazz Vocal Course at Music Education Study Program of Institut Seni Indonesia Yogyakarta. The research aims to reveal the learning process of the Pop-Jazz vocal course and the utilization of youtube as an accompaniment in learning the Pop- Jazz vocal course. This research is expected to provide solutions for students who face problems in the learning process of the Pop-Jazz vocal course during the covid-19 pandemic. It is qualitative research with a case study approach. Data collection techniques were carried out through direct observation during the learning process. Furthermore, interviews with teachers and vocal students of Pop-Jazz were conducted to obtain the data. It was a case study of vocal students of Pop-Jazz Intermediate 1 at the Music Education Study Program. The literature studies were carried out to support the data and references. This study shows that the interest in vocal learning of Pop-Jazz at the Music Education Study Program by utilizing youtube as an accompaniment at the pop-jazz vocal course can be increased.
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Vivian, Yovi Irvan. "KARAKTERISKTIK MUSIKAL PADA ALBUM KOMPILASI KARYA KOMUNITAS JAZZ JOGJA." Journal of Culture, Arts, Literature, and Linguistics (CaLLs) 1, no. 2 (February 24, 2017): 20. http://dx.doi.org/10.30872/calls.v1i2.689.
Повний текст джерелаАнотація:
The musician and jazz musical lovers in Yogyakarta are stated in a music group named Jogja Jazz Community. Jogja Jazz Community community often presents the shows that are showed every week (Jazz Mben Senen and Etawa Jazz) and every year (NgayogJazz). This community existence isn’t only performed in live concert, but also by producing compilation album every year. Compilation album consists of some projects which participate in it. This research focuses on compilation album entitled Jazz Basuki Mawa Bea (2009) and Jazz
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Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (December 31, 2017): 45–59. http://dx.doi.org/10.5450/ejm.2017.16.5778.
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In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and analyses aspects of professionalisation, internationalisation and outreach activities both local and international. The leading personalities in the institution's history are introduced, and their activities from 1965 to 1980 are described. After an overview of the Institute's current state, the article discusses internal and external conflicts and criticism of the Institute's activities, artistic orientation and status. Research for this article was compiled as part of the FWF research project ‘Jazz & the City: Identity of a Capital of Jazz', conducted at the University of Music and Performing Arts in Graz from 2011 to 2013 under Prof. Dr Franz Kerschbaumer
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Walker, Linda Miller. "What the Research Says: Jazz in General Music." Soundings (Reston, VA) 6, no. 2 (January 1993): 42–44. http://dx.doi.org/10.1177/104837139300600212.
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Wishnoebroto, Wishnoebroto. "Globalization Goes Local: Nationalism in Indonesian Jazz." Lingua Cultura 4, no. 2 (November 30, 2010): 123. http://dx.doi.org/10.21512/lc.v4i2.358.
Повний текст джерелаАнотація:
Article presented how Jazz, as a product of American popular culture, can be very local in Indonesia. Nationalism, in this case, refers to how Indonesian jazz artists translate and create a kind of ‘dialogue’ between jazz and local Indonesian culture. The study used library research by finding what values that jazz had in order to create such dialogue, and how Indonesian nationalism could be transformed in jazz. The evolution of Jazz in Indonesia and the attitude of Indonesian jazz audience were discussed to see the position of jazz in Indonesian popular culture mainstream. It can be concluded that Jazz seems to deconstruct the common notion that music should be understood to be enjoyed. In jazz, the irrational and sometimes absurd combination between jazz and other indigenous culture, has created a specific kinds of the music itself. Jazz in Indonesia has gone through its own cycle of evolution where the western and the eastern culture has created its own art and nobody knows the direction of jazz in the future.
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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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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival." European Journal of Cultural Studies 20, no. 2 (April 27, 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.
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This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.
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Coss, Roger G. "Descriptions of expert jazz educators’ experiences teaching improvisation." International Journal of Music Education 36, no. 4 (June 11, 2018): 521–32. http://dx.doi.org/10.1177/0255761418771093.
Повний текст джерелаАнотація:
The tensions present in learning jazz improvisation are well recognized given the contextual shift from more informal environments such as jam sessions and apprenticeships towards academic settings such as school bands and college jazz programs. Research suggests that the development of instruction in music education be informed by and modeled after expert practitioners, yet scant evidence exists on the most effective strategies, methods, and/or approaches for teaching jazz improvisation, in particular against the backdrop of this shift in educational paradigms. In response, the purpose of this phenomenological study was to investigate seven jazz educators’ lived experiences teaching jazz improvisation. Seven expert jazz educators situated in a variety of teaching contexts throughout Northern California were recruited using purposeful, snowball sampling strategies. Data were collected through semi-structured interviews, observations of the participants in a teaching context, and documents such as syllabi, handouts, and recordings. Five themes in the form of vignettes describe these participants’ common experiences in teaching jazz improvisation: (1) Teacher as Guide; (2) Teacher as Motivator; (3) Psychological Aspects; (4) Navigating the Academic Chasm; and (5) Cultivating Lifelong Learners. Implications for practice and suggestions for future research are discussed.
18
Komara, Edward, and Eddie S. Meadows. "Jazz Research and Performance Materials: A Select Annotated Bibliography." Notes 53, no. 2 (December 1996): 480. http://dx.doi.org/10.2307/900142.
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Dennis, Noel. "The ubiquitous jazz metaphor: thoughts from a jazz musician and management educator." Marketing Intelligence & Planning 33, no. 7 (October 5, 2015): 966–71. http://dx.doi.org/10.1108/mip-08-2015-0151.
Повний текст джерелаАнотація:
Purpose – The purpose of this paper is to provide a viewpoint about how the jazz metaphor can be applied to marketing/management education, in light of the article by Holbrook (2015). Design/methodology/approach – This commentary examines the jazz metaphor from the author’s perspective as a jazz musician and management educator and hopefully provides the reader with a brief snapshot into the intricate workings of a jazz group. This commentary also investigates the lessons to be learned from Miles Davis’s approach to leadership and innovation. Findings – The jazz group can provide a valuable model for modern organisations. The core competencies of a successful jazz group, e.g. collaboration, trust, dialogue and innovation can be employed to bring about a culture of creativity within an organisation. Research limitations/implications – It may be possible to extend the jazz metaphor and investigate how different aspects of business practice could be aligned with particular genres of jazz. Originality/value – This commentary expands on Holbrook’s discussion of the marketing manager as Jazz musician and provides examples of how these metaphors can be used in order to augment the marketing/management learning material to offer alternative perspectives to the learning communities and enhance the pedagogical practice
20
Andrew Toe, Yuan Loong. "SHANGHAI JAZZ MUSIC FROM 1930 TO 1949." International Journal of Applied and Creative Arts 1, no. 1 (June 29, 2018): 1–12. http://dx.doi.org/10.33736/ijaca.833.2018.
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Jazz music emerged in Shanghai, China between the late 1920s and early 1930s. This paper documented and analysed Shanghai jazz music that was recorded from 1930 to 1949. Shanghai jazz music recorded and performed within this period was selected through stratified random sampling technique. All samples were analysed in terms of melody, harmony, rhythm and form. The results showed that Western diatonic scale was apparent in the melodies, instead of the usual Chinese pentatonic scale; primary chords were prevalent with minimal use of secondary chords in the harmony; the “oom-pah” rhythm in duple meter was most widely utilized; and the musical form has evolved from the earlier through-composed song form to the later “AABA” form. In conclusion, this research characterised Shanghai jazz music that were recorded between 1930 to 1949. It served to elevate the identity of this music and to prompt further research into Shanghai jazz music spanning from 1950s until present time.
21
Barratt, Elisabeth, and Hilary Moore. "Researching group assessment: jazz in the conservatoire." British Journal of Music Education 22, no. 3 (October 21, 2005): 299–314. http://dx.doi.org/10.1017/s0265051705006467.
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This article presents the results of research into methods and scorings for jazz assessment in Trinity College of Music, London, focusing on the possibility of introducing group assessment. It considers the advantages of group assessment methods, contrasting these with the more traditional approach, firmly established in conservatoires, of evaluating individual musicians. We question the role of jazz within the conservatoire, exploring not only the way institutions may transform jazz practice, but also the ways jazz may contribute to the evolution of higher education. The research formed part of a larger grant aimed at curricular development at Trinity College of Music. As such, we present it as an example of research's potential for immediate impact upon education policy. The project is also unusual in its use of students and instrumental professors not only as subjects of research but as participators fully involved in their own self-assessment and development.
22
Wesolowski, Brian C. "A facet-factorial approach towards the development and validation of a jazz rhythm section performance rating scale." International Journal of Music Education 35, no. 1 (June 21, 2016): 17–30. http://dx.doi.org/10.1177/0255761415590524.
Повний текст джерелаАнотація:
The purpose of this study was to develop a valid and reliable rating scale to assess jazz rhythm sections in the context of jazz big band performance. The research questions that guided this study included: (a) what central factors contribute to the assessment of a jazz rhythm section? (b) what items should be used to describe and assess a jazz rhythm section performance? (c) how should the items be categorized? (d) what differences among jazz rhythm sections exist at three performance achievement levels? and (e) what criteria best predict group membership into three performance achievement levels? Items were gathered from research and literature related to the assessment, teaching, and general discussions related to the jazz rhythm section. Twenty-nine item statements were paired with a four-point Likert scale. One hundred and twenty-two responses were gathered from 41 volunteer raters. The results of the data were factor analyzed and yielded a two-factor structure including rhythmic support/drive and style/clarity. The 16-item scale accounted for 79.23% of the variance and the alpha reliability was estimated at 0.986. The rhythmic support/drive factor contributed most to discriminating between overall group differences. More specifically, five out of the 16 items contributed most to discriminating between groups.
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Mikadze, Tamar. "Vakhtang Kakhidze’s Creative Work in the Context of the Relation Between Jazz and Academic Music." Kadmos 11 (2019): 55–85. http://dx.doi.org/10.32859/kadmos/11/55-85.
Повний текст джерелаАнотація:
Twentieth-century art is characterized by its striving for synthesis, which gave rise to a number of new styles and genres. The creative mutual influence of jazz and academic music is one of the brightest manifestations of this process. Jazz has greatly influenced classical music, and academic music, in turn, has determined important paths for the development of jazz. This issue has not been studied in Georgian musicology to date. As an example of this process, the article discusses Vakhtang Kakhidze’s creative work, with a focus on his concerto for piano and symphony orchestra, and “Bruderschaft” for viola, piano and string orchestra. Areas of research include: the application of jazz musical-linguistic resources and adaptation of its individual elements as a means for updating traditional musical language; imitation of jazz sounds with traditional classical instruments – “coloration” in jazz style; and the structural integration of jazz expressive techniques and classical music. In Vakhtang Kakhidze’s creative work, jazz is a model for stylization, an artistic face of the epoch, a means of expression, a principle of thought, and a symbol of identity. Ethno jazz is one of the means for the identification and self-expression of his “I” as a composer. The discussed works reveal the result of Vakhtang Kakhidze's compositional quest, closely related to the idea of the synthesis of jazz and academic art. Stylistic features of jazz art, improvisation as a principle of thinking, solid compositional genres of academic music, classical forms and peculiarities of Georgian folk music organically coexist in both of these examples of the composer’s academic music. It is concluded that among Georgian composers of the 1980s, Vakhtang Kakhidze’s works most clearly reflect the synthesis of European compositional technique and jazz traditions.
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Купіна, Д. Д., and М. В. Дидак. "Jazz jem sessions in the aspect of listener perception." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 141–50. http://dx.doi.org/10.33287/221930.
Повний текст джерелаАнотація:
The purpose of the article is to identify the characteristic features ofjazz jam sessions as creative and concert events. The research methods arebased on the use of a number of empirical approaches. The historicalmethod has characterized the periodization of the emergence andpopularity of jam session as an artistic phenomenon. The use of themethod of comparison of jazz jam sessions and jazz concert made itpossible to determine the characteristic features of jams. An appeal toaxiological research methods has identified the most strikingimprovisational solos of leading jazz artists. Of particular importance inthe context of the article are the methods of analysis and synthesis,observation and generalization. It is important to pay attention to the use ofa structural-functional scientific-research method that indicates theeffectiveness of technological and execution processes on jams. Scientificinnovation. The article is about discovering the peculiarities of the jamsession phenomenon and defining the role of interaction between theaudience of improviser listeners and musicians throughout the jams. Theprocesses of development of jazz concerts and improvisations at jamsessions are revealed. Conclusions. The scientific research providedconfirms the fact that system of interactions between musicians amongthemselves and the audience, as well as improvisation of the performers atthe jam sessions is immense and infinite. That is why modern jazz singersand the audience will always strive for its development and understanding.This way is worth starting with repeated listening to improvisation, in theimmediate presence of the jam sessions (both participant and listener).
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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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Salley, Keith. "Ordered Step Motives in Jazz Standards." Journal of Jazz Studies 8, no. 2 (March 17, 2013): 114. http://dx.doi.org/10.14713/jjs.v8i2.42.
Повний текст джерелаАнотація:
The focus of this study is the melodic motive. It uses a tool called the Ordered Step Motive (OSM) to investigate the way linear motives give shape to jazz compositions that have frequently changing tonal centers, nonfunctional chord connections, no clear global tonics, or structurally open, circular forms. This study contributes to the written body of theoretical knowledge about jazz composition by engaging with current scholarship on tonal ambiguity, circular form, and motivic associations between melody and harmonic organization. This study also invites further research into the relationship between common riffs and underlying structure in jazz composition, which may reveal crucial differences between standards written by Broadway and Tin-Pan-Alley composers and those written by practicing jazz musicians.
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Arzamastseva, Olesya V., and Larisa A. Tyurina. "Features of the development of a professional singing sound of pop-jazz performers in the process of teaching performance skills." Tambov University Review. Series: Humanities, no. 191 (2021): 123–29. http://dx.doi.org/10.20310/1810-0201-2021-26-191-123-129.
Повний текст джерелаАнотація:
The urgency of vocational training for pop-jazz musicians is substantiated. The aim of the study is to determine the necessary components in the work on professional sound production in the process of teaching pop-jazz vocal, as well as to demonstrate some ways to increase the effi-ciency of work on sound in the classroom. The issues of the development of a professional singing voice in the process of teaching pop-jazz performance are considered. The research methods in-cluded: study of special literature, analysis and generalization of research and pedagogical expe-rience of the work of leading specialists in the field of music education and performance. The high degree of influence of the level of professional training of performers-vocalists on the national musical culture is proved. Practical recommendations for work on singing sound production in the process of professional training of pop-jazz singers in modern music educational institutions are presented.
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Santos, Manuel, and Kevin Morgan. "Developing creative team games players: From jazz to sport coaching." International Journal of Sports Science & Coaching 14, no. 2 (April 2019): 117–25. http://dx.doi.org/10.1177/1747954119834397.
Повний текст джерелаАнотація:
Traditional coaching methods position coaches at the centre of the learning process and do not encourage players to think creatively. This study challenged this assertion, through the application of pedagogical principles reported in jazz-related literature, which argue that creativity is best developed through collaboration. As such, the study aimed to develop players’ creativity, through the application of pedagogical principles reported in jazz-related literature. An action research design was implemented, during a 14-weeks period, with a youth volleyball squad. Results demonstrated an impact upon match play; players showed their enhanced appreciation of the game’s complexity, by experimenting, collaborating, and generating creative solutions to challenges emerging within matches. In addition, the implementation of collaborative practices positively impacted upon the players’ communication habits, which were both more frequent and effective. Although players demonstrated a similar modus operandi to jazz musicians, this study represents the first step in what coaches can learn from jazz creativity, and therefore further research is required to corroborate or challenge the results attained.
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Polyanskyi, T. V. "Ragtime in the work of composers of academic tradition." Musical art in the educological discourse, no. 2 (2017): 78–85. http://dx.doi.org/10.28925/2518-766x.20172.7885.
Повний текст джерелаАнотація:
The twentieth century can be called a century of universal synthesis, and the specific feature of musical creativity is synthetic nature of creative thinking. The expansion of intonation sphere, free dialogue of various genres, styles are becoming more obvious, and in this process an extraordinary role is given to mass music and jazz. The twentieth century created the opportunity not only to take paints from the richest palette, but also to mix them boldly. More often there are compositions in which the effects of various expressive systems are pronounced. So these effects absorb the elements of jazz idiomatics. It means all kinds of symbioses with jazz, which are called hybrid genres: jazz opera, jazz ballet, jazz symphony, jazz oratorio, etc. The interaction of academic and jazz music took place at different stages of the evolution of the world musical culture, and the formation of this trend is associated with the creativity of composers of the academic tradition of the USA and Western Europe in the late 19 – early 20 century. The subject of this work is the aspect of the penetration of jazz idioms, precisely, the methods of ragtime into the music of the academic tradition of the early twentieth century. The main focus is on the work of the most significative European composers, primarily members of the famous French “Six”, as well as outstanding masters of American academic music. All this is supported by musical examples (notes), which give a holistic view of the subject of research.
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Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.
Повний текст джерелаАнотація:
The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.
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Webster, Emma, and George McKay. "The impact of (jazz) festivals: An Arts and Humanities Research Council-funded research report." Jazz Research Journal 9, no. 2 (July 20, 2016): 169–93. http://dx.doi.org/10.1558/jazz.v9i2.29783.
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Handyastuti, Indriyani, Dwiesty Dyah Utami, and Vanda Nirma Audita. "LOCAL COMMUNITIES PERCEPTION ON THE IMPACT OF PRAMBANAN JAZZ FESTIVAL." Journal of Indonesian Tourism, Hospitality and Recreation 3, no. 2 (October 29, 2020): 103–16. http://dx.doi.org/10.17509/jithor.v3i2.28568.
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The development of the organization of the event now starts to vary and provides a valuable and impressive experience for many people. So, from that along with its development, the event appeared increasingly unique both in terms of concept to the venue used. One of the events that have its uniqueness is the festival. In this case, the Prambanan Jazz Festival is one of the types of events that are used as the focus of research. Organizing an event can have an impact on the surrounding community, both in terms of social, environmental, and economical. Communities in the surrounding environment will have different perceptions about the impact of the event. An event can be considered as successful if the community perceives the positive benefit from the event and give considerable support. The research method used in this study is quantitative with descriptive analysis. The purpose of this study was to find out how local people perceive the impact of the implementation of Prambanan Jazz Festival on social, environmental, and economic impacts. The result of this study indicates that the Prambanan Jazz Festival had a little social impact on local communities. The Prambanan Jazz Festival does not provide significant environmental impact from some of the main aspects of this study. In addition, the implementation of the Prambanan Jazz Festival has not affected the economy around the event area due to the absence of programs made by the event organizers to support the economy of the surrounding community.Keywords: Local Communities Perception, Prambanan Jazz Festival, The Impact of Event
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Marga, Karyasih. "Public Space, Community, and Enjoyment in Music Festival: The experiences of 2019 Jazz Traffic Festival audience in Surabaya." Jurnal Media dan Komunikasi 2, no. 1 (October 26, 2021): 28. http://dx.doi.org/10.20473/medkom.v2i1.29358.
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This research focuses on the visitors' experience of the Jazz Traffic Festival (JTF) 2019 in Surabaya. This research then aims to know how the experience gained by the visitors in JTF with the genre expansion was incorporated despite its title as Jazz music Performances. This research uses case study method and descriptive-qualitative approach. The data in this research is obtained by observation and independent-interviews with four informants as visitors of JTF. The results of this study showed that each JTF visitors have a different experience due to the preference and purpose of attending the festival. JTF becomes a public space for visitors who are part of the urban community for several reasons. The visitors attend JTF for the entertainment, to escape from the routine, to build social interactions, and to actualize self-identity. in addition, the innovative effort of JTF in maintaining its existence by expanding to non-jazz music and market was apparently still enjoyed by the visitors.
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Voropaieva, Olena. "Tania Maria’s creative work in the context of trends in the development of jazz in the second half of the 20th century (on the example of the 1980s compositions)." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 57–72. http://dx.doi.org/10.34064/khnum2-27.04.
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Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian performer (piano, vocals) and composer Tania Maria should be highlighted. Analysis of recent research and publications showed that Tania Maria’s creative work in the context of Latin Jazz development has not been sufficiently studied at the present time, being limited mainly by short references to biographical articles and interviews with the artist in foreign online publications. Thus, Tania Maria’s work requires a much deeper study that determines the feasibility and scientific novelty of the proposed research, which aims to reveal the genre and stylistic specificity of Tania Maria’s work in the 80s of the 20th century, the period, when the complex of her individual compositional and performing characteristics was formed. The result of the study was the disclosure, based on historical-genetic, comparative, analytical methods, of the genre-stylistic origins of Tania Maria’s “intonation vocabulary”, where the metrorhythmic and melodic structures of Brazilian samba and the hot-jazz component closely interact with each other, as well as the intonation-textural features of some compositions of the 1980s from the albums “Piquant” and “Come With Me”. Conclusions. Tania Maria’s creative work in the 80s of the 20-th century exemplified by compositions “Yatra ta”, “It’s Not for Me to Say” and “Come With Me” is a combination of genre and stylistic features of funk, Latin-American samba and elements of pop music (jazz-Latin-pop-funk). The musical art of the second half of the 20th century demonstrates a variety of styles and trends that were quite quickly “re-intonated” in the jazz language, which testifies to the universality of jazz as a unique form of musical thinking, creativity and cooperation of musicians. The combination of these styles is organic in line with the trend of development of musical art of that period and at the same time is the basis of Tania Maria’s unique performance style as a representative of both, South American and European jazz music.
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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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Nurhayati, Nurhayati, and Nurhamdah Nurhamdah. "THE EFFECTIVENESS OF TEACHING PRONUNCIATION THROUGH JAZZ CHANTS METHOD." Inspiring: English Education Journal 2, no. 2 (September 18, 2019): 83–96. http://dx.doi.org/10.35905/inspiring.v2i2.1267.
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This study expected to find out the effectiveness of teaching pronunciation through jazz chants and the students’ response toward the implementation of jazz chants method in teaching pronunciation at the eight grade of MTsN Parepare. The result of this research was expected to be useful information in the English teaching and learning process especially in the pronunciation teaching. This research applied pre-experimental method, with two group pre-test and post-test design. The samples of the research were consisted of 27 students from five classes taken from the population at the eight grade students of MTsN Parepare first semester in Academic Year 2018/2019.The result of the data analysis showed that the students’ pronunciation abilitywas improved. It could be showed from the result of the t-obtained value (7.698) was higher than t-table value (1.706). Those indicated that H0 was rejected and Ha was accepted. It meant that the students’ pronunciationwas able increased by using jazz chants method. Besides that, the result of the questionnaire showed that most of the students agree and had a positive response in learning pronunciation by using jazz chants method. It could be showed from the result of the cumulative percentage on the fifteen items of the questionnaire was 89,28 (very strong), while the cumulative score that they got the questionnaire was 1808 (strongly agree). Based on the result of data analysis above, the researcher then concluded that the students’ pronunciation ability was improved and it is effective to teaching pronunciation through jazz chants at the eight grade of MTsN Parepare.
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Newman, Shawn. "It's All in the Hips: Sexual and Artistic Minority in Canadian Concert Jazz Dance." Congress on Research in Dance Conference Proceedings 2012 (2012): 118–23. http://dx.doi.org/10.1017/cor.2012.15.
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Contemporary sexual norms in Canada continue to dictate how sexuality should be presented on the stage in many styles of theatrical dance. Jazz dance is not excluded from this practice; in fact, since the early days of social dancing, jazz dance has often been considered synonymous with gratuitously deviant sex and sexuality. In contemporary artistic circles, concert jazz dance often finds itself subject to an additional classification as low-art because of this perceived relationship between sex and the dancing. This artistically marginalized position of concert jazz implies a conservative heteronormativity in Canada that is contrary to our apparent inclusion of subjugated sexual minorities as “normal.” “It's All in the Hips” explores sexuality in contemporary Canadian concert jazz dance to illustrate the potential for representations of marginalized sexualities on stage, and the perceived threat to artistic hegemony. While there is growing research into sexuality on the American stage in ballet and modern dance through scholars such as Jane C. Desmond, Jennifer Fisher, Susan Leigh Foster, and others, and also into jazz's roots in social dancing by Susan Manning, Anthea Kraut, Julie Malnig, and a growing host of scholars, very little work has been done on the Canadian concert jazz scene, save for the work of Iro Tembeck, Mark Miller, Meilan Lam, and a handful of dancers. This paper examines the intersection between sexual and artistic minority in Canadian concert jazz dance and problems that arise for positioning the form to dance audiences as high art.
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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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Pratiwi Susilowati, Dede, and Emzir Emzir. "AGRESIVITAS TOKOH DALAM NOVEL JAZZ, PARFUM, DAN INSIDEN KARYA SENO GUMIRA AJIDARMA (Suatu Kajian Psikologi Sastra)." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 16, no. 2 (July 2, 2017): 106–23. http://dx.doi.org/10.21009/bahtera.162.07.
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AbstrakPenelitian ini bertujuan untuk mengetahui agresivitas tokoh dalam novel Jazz,Parfum, dan Insiden karya Seno Gumira Ajidarma dari pendekatan psikologisastra. Penelitian ini dilakukan bulan September 2016 hingga Juli 2017.Penelitian ini merupakan penelitian kualitatif dengan menggunakan metodeanalisis isi, dan sumbernya adalah novel Jazz, Parfum, dan Insiden. Jenisagresivitas yang paling banyak ditemukan adalah agresivitas langsung-aktifnonverbalsejumlah 91 (75,2%) data yang berupa tindakan merugikan orang lainsecara langsung. Kemudian tujuan agresivitas yang paling menonjol sebanyak 7(70%) data, tujuan agresivitas tersebut untuk menghentikan perilaku yang tidaksesuai, tujuan ini bukan untuk menyakiti korban. Lalu, sebab munculnyaagresivitas yang paling besar adalah faktor provokasi, provokasi terjadi karenaberbagai pihak saling memanasi sehingga agresi muncul, faktor provokasi iniditemukan sebanyak 3 (75%) data. Lalu dampak agresi yang menonjol dalampenelitian ini adalah kematian, kematian terjadi karena agresi sudah terlalu parah.Dampak kematian ditemukan sebanyak 12 (42,8%) data. Yang terakhir solusimengurangi agresi paling banyak ditemukan adalah hukuman, seperti dipenjara,ditahan sebanyak 9 (90%) data. Dalam novel Jazz, Parfum, dan Insiden terdapatnilai-nilai positif untuk membangkitkan pandangan pembaca terhadap kehidupannyata, khususnya mengenai rasa empati, simpati pada sesama manusia.Kata kunci: Agresivitas, Tokoh, Novel, Seno Gumira Ajidarma.
AbstrackThis research is purposed to analysze the character’s aggresiveness from Jazz,Parfum, and Insiden, a novel by Seno Gumira Ajidarma. This research has startedat September 2016 and end at July 2017. By using content analysis for it ismethod, this kind of research is qualitative research, on the based Jazz, Parfum,and Insiden. Some type of aggressiveness oftenly found in this research is kind ofdirect-active-nonverbal, amount 91 (75,2%) data which is such action thatdirectly disserving people. Then the dominant purposes of aggressiveness is amount 7 (70%) data, this kind of aggressiveness takes order to stopunappropriate behaviour, not to harm victims. Then the biggest cause ofaggressiveness is based on provocative factors, that appears as if each side ofgroups keep provoking and raise aggression up. There are 3 (75%) datas amountthis factor. Then the most dominant influence of aggression in this research is thedeath caused by highly ruthless aggression. This kind of death influence is amount12 (42,8%) data. The last is the mostly solution found to ease aggressiveness ispunishment, which are imprisoned or arrested, amount 9 (90%) datas of them. Inthe Jazz, Parfum, and Insiden novel, there are positive values to raise up thereaders perspective about reality, some of them are especially empathy, andsympathy among human beings.Keywords: aggressiveness, aggression, character, novel, Seno Gumira Ajidarma.
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Ikechi, Emeka, Ayebanoa Timibofa, and Otuare Theophilus Kika. "Aesthetics of Protest in Black American Literature: A Study of June Jordan’s Directed by Desires and Richard Wright's Native Son." Scholars International Journal of Linguistics and Literature 5, no. 2 (February 24, 2022): 51–57. http://dx.doi.org/10.36348/sijll.2022.v05i02.003.
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The introduction of jazz and blues in the United States of America influenced the works of Afro American writers both in content and form. These jazz and blues musical songs were used as mediums to protest against racism, class, gender and other inhuman practices meted on the blacks in the United States. Although these songs were not formally written, they became a source of inspiration for writers afterwards in terms of themes and style. The later writers who changed to formal literature borrowed from the themes and styles of these jazz and blues musicians. This paper is signicant because it has examined the thematic preoccupation of June Jordan’ Directed by Desires and Richard Wright's novel, Native Son. Findings show that both writers were thematically and stylistically influenced by the jazz and blues era of art in Af ro American Literature. Data for this essay was collected via qualitative research methodology, while the postcolonial theory was adopted for analysis. The paper submits that themes of racism, class, gender and protest were features of the jazz and blues era which later writers modelled their works after.
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Richardson, Paul G., Marcie Riches, Nancy A. Kernan, Joel A. Brochstein, Shin Mineishi, Amanda M. Termuhlen, Sally Arai, et al. "Defibrotide for the Treatment of Hepatic Veno-Occlusive Disease/Sinusoidal Obstruction Syndrome with Multi-Organ Dysfunction: Final Results from a Pivotal, Historically Controlled, Phase 3 Trial." Blood 126, no. 23 (December 3, 2015): 737. http://dx.doi.org/10.1182/blood.v126.23.737.737.
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Introduction Hepatic veno-occlusive disease/sinusoidal obstruction syndrome (VOD/SOS), is a rare and potentially life-threatening complication of hematopoietic stem cell transplantation (HSCT). Severe cases, historically defined by multi-organ dysfunction (MOD), may be associated with mortality rates of >80%. There is no FDA-approved treatment for VOD/SOS. Defibrotide (DF) has a proposed mechanism of action that includes stabilization of endothelial cells and restoration of thrombo-fibrinolytic balance. Earlier analyses of a pivotal phase 3 trial of DF in VOD/SOS plus MOD (Richardson et al. Blood. 2009;114:Abstract 654) underpinned approval of DF in the EU to treat severe hepatic VOD/SOS after HSCT. Additional data were obtained at the request of US health authorities. Here we present the final analysis: day +100 survival (primary endpoint) and complete response (CR; secondary). Methods This was a multicenter, open-label, phase 3 historical control (HC) study assessing DF. Eligible patients met Baltimore VOD/SOS criteria (total bilirubin ≥2.0 mg/dL with ≥2 of: hepatomegaly, ascites, or 5% weight gain) by day +21 post-HSCT, plus MOD (renal [trebling of creatinine levels, reduced creatinine clearance, or dialysis] and/or pulmonary [oxygen saturation ≤90%, need for oxygen supplementation/ventilator dependence]) by day +28 post-HSCT. Exclusion criteria included severe graft-versus-host disease (GvHD) of liver or gut, clinically significant bleeding, or need for ≥2 pressors. HC patients were reviewed for inclusion/exclusion criteria in a sequential review of medical charts starting 6 months prior to use of DF at each site; a blinded medical review committee made the final determination of HCs unequivocally meeting criteria for VOD/SOS with MOD. DF dose was 25 mg/kg/d in 4 divided 2-hour IV infusions q6h; recommended treatment duration was ≥21 days. Primary endpoint was day +100 survival. CR by day +100 was a secondary endpoint. Treatment difference in survival and CR rates and their 95% confidence intervals were estimated using propensity-stratified and weighted (Koch-adjusted) estimates of differences in proportions that account for baseline prognostic factors of survival (ie, ventilator and/or dialysis dependency at entry, age ≤/>16 years, transplant type, and prior HSCT). Analyses included patients treated with DF and HCs. Results There were 102 patients in the DF group and 32 cases selected as HCs. Baseline characteristics were similar in the DF and HC groups: mean age (26 and 25 years; 43% and 44% ≤16 years), allogeneic graft (88% and 84%), prior HSCT (13% and 9%), ventilator- and/or dialysis-dependent at study entry (33% and 22%), myeloablative conditioning (87% and 94%), and the most common underlying diseases (acute leukemias: 45% and 47%), respectively. In the DF-treated group, common GvHD medications included tacrolimus (49%), methotrexate (41%), and cyclosporine (38%); in the HC group, common medications were cyclosporine (72%) and methotrexate (63%). Survival at day +100 in the DF and HC groups was 38% and 25%, respectively. The propensity-stratified difference in survival was 23.0% (95.1% CI, 5.2-40.8, P = .0109). Respective observed CR rates by day +100 were 25.5% and 12.5%, and the propensity-stratified difference in CR was 19.0% (95.1% CI, 3.5-34.6, P = .0160). Comparing the earlier EU and final analyses, the survival rates at day +100 in each group did not vary; however, the propensity adjusted final analysis provided a different level of statistical significance. Day +100 CR rates in the original analysis were slightly lower in both arms at 24% and 9% due to increased data capture to investigate CR; the P value was essentially unchanged. For the DF group, 45% had an adverse event (AE) at least possibly related to study drug, and 21% had a serious AE at least possibly related to study drug. In this very sick population, percentages of patients with ≥1 AE leading to death were similar between DF and HC patients (64% and 69%), as were hemorrhagic AEs (64%, 75%) and hypotension (39%, 50%). Conclusions Based on observed study data and using a propensity-adjusted rate difference estimator, patients treated with DF had a 23% reduction in risk of death by day +100 and 19% improvement in CR rate. Overall incidence of hemorrhage and fatal AEs were similar between groups with AEs consistent with those expected in this critically ill population. Support: Jazz Pharmaceuticals. Disclosures Richardson: Novartis: Membership on an entity's Board of Directors or advisory committees; Jazz Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees, Research Funding; Celgene Corporation: Membership on an entity's Board of Directors or advisory committees; Gentium S.p.A.: Membership on an entity's Board of Directors or advisory committees, Research Funding; Millennium Takeda: Membership on an entity's Board of Directors or advisory committees. Off Label Use: Marizomib, pmalidomide, and low dose dexamethasone in RR MM. Defibrotide is an investigational treatment for hepatic veno-occlusive disease/sinusoidal obstruction syndrome in the United States. . Kernan:Gentium S.p.A.: Research Funding. Grupp:Novartis: Consultancy, Research Funding. Guinan:Gentium SpA/Jazz Pharmaceuticals: Other: My institution received fees for research.. Martin:Jazz Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees; Gentium SpA/Jazz Pharmaceuticals: Research Funding. Steinbach:Gentium SpA/Jazz Pharmaceuticals: Research Funding. Krishnan:Celgene: Consultancy, Speakers Bureau; BMS: Consultancy; Janssen: Consultancy; Onyx: Speakers Bureau; Jazz: Consultancy; Millenium: Speakers Bureau. Giralt:SANOFI: Consultancy, Honoraria, Research Funding; CELGENE: Consultancy, Honoraria, Research Funding; AMGEN: Consultancy, Research Funding; JAZZ: Consultancy, Honoraria, Research Funding, Speakers Bureau; TAKEDA: Consultancy, Honoraria, Research Funding. Rodriguez:Gentium SpA/Jazz Pharmaceuticals: Research Funding. Doyle:Gentium SpA/Jazz Pharmaceuticals: Research Funding. Antin:Gentium SpA/Jazz Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees. D'Agostino:Gentium SpA/Jazz Pharmaceuticals: Consultancy. Massaro:Gentium SpA/Jazz Pharmaceuticals: Consultancy. Miloslavsky:Jazz Pharmaceuticals: Employment, Equity Ownership. Hume:Jazz Pharmaceuticals: Employment, Equity Ownership. Iacobelli:Gentium SpA: Employment. Nejadnik:Jazz Pharmaceuticals: Employment, Equity Ownership. Hannah:Gentium SpA: Other: Personal fees during conduct of the study.. Soiffer:Gentium SpA/Jazz Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees.
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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.
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TUCKER, SHERRIE. "Popular Music and Jazz, 1900–1950." Journal of the Society for American Music 9, no. 4 (November 2015): 497–504. http://dx.doi.org/10.1017/s1752196315000437.
Повний текст джерелаАнотація:
On the evening of March 8, 2014, I became the most envied person in the Lancaster, Pennsylvania, Marriott Heritage Ballroom (perhaps the whole of Lancaster County). For my own part, I snoozed. But there on the nightstand, my cell phone danced with texts of more energetic colleagues: “Sherrie, you won the Grove! Where the @#! are you?” It seemed I had hit the jackpot in the SAM 2.0 raffle. In (quite literally) the blink of an eye, I had gone from a run-of-the-mill scholar of American music with pretty much the same books on the shelf as others with my particular set of research interests, to one of the few people on the planet to own the entire eight-volume AmeriGrove II. In that same life-changing moment—as I learned the next morning—I had also become the person least able to politely decline John Koegel's invitation to contribute to this multipart review.
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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.
Повний текст джерелаАнотація:
Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.
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Тарасова, Н. Ю., та Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)". Музикознавча думка Дніпропетровщини, № 15 (4 листопада 2019): 171–85. http://dx.doi.org/10.33287/221914.
Повний текст джерелаАнотація:
The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmonious, accord-tonal, form-forming means of expressiveness of jazz and music of the twentieth century. Conclusions. The interaction of the jazz language with the academic tradition essentially influenced the renovations of the genre in the suites „1922ˮ by P. Hyndemith and „Suite Sentimentsˮ by Y. Chugunov. Jazz influence has contributed to: 1) individualization of the musical decision of the suite, increase of unique expressiveness (skepticism about dance in Hindemith, rich and dynamic palette of lyrical feelings, with contrast of contemplation and mobility in Chugunov); 2) release of the genre character and structure of the cycle from Baroque-classical genre-structural normativity (in the first work, the dance genres of music of the twentieth century, in the second – different emotional states, become decisive); 3) combining the form of a suite cycle (not a simple sequence of plays based on theestablished tempo principle, but a plastic improvisational transition, with the loss of the boundaries of the parts) (in „Suite of Sentiments” by Chugunov), with a through metro rhythm and internal unification with ironic author overtones expressed by harmonic, textured and rhythmic means (in the Suite „1922ˮ by Hindemith); 4) the formative role of rhythm formulas of jazz music (emphasizing weak parts, syncopation, rhythmic brokenness of melody, triple rhythm formulas and unstable formulas with small rhythmic meters), typical jazz performing techniques (fermat, „hangs”, discontinued melodies) and Latin American music of harmonic means (movement by parallel chords, active use of trio sounds, seventh chords, non-chords with alterations), jazz features of intonation (false fingering); 5) application of compositional features of ragtime, swing (cadences, improvisations, repetitions).
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Binti Qani'ah and Santy Firdatul Islamiyah. "An Analysis of Personal Deixis Used by The Main Character in The La La Land Movie." JEE (Journal of English Education) 7, no. 2 (December 30, 2021): 165–78. http://dx.doi.org/10.30606/jee.v7i2.822.
Повний текст джерелаАнотація:
This research focused on analyzing personal deixis. It was in pragmatics scope. There were two aims in this research. First was to identify what categories of personal deixis are used by the main character in La la land movie. Second was to explain why the most dominant category of personal deixis is used by the main character in La la land movie. A descriptive qualitative method was in this research. The data of this research were utterances that consist of personal deixis. Then, the source of data was La la land movie. The results of this research were the main character used three categories of personal deixis in La la land movie. They were first personal deixis found 43 data, second personal deixis found 23 data, and third personal deixis found 20 data. The total data were 85 data. The most dominant category used by the main character in La la land movie was first personal deixis. The main character often used first personal deixis in this movie. It was because it represented Sebastian’s struggles to solve his problems of his life, such as finding a job as a jazz pianist, reaching his dreams in Los Angeles as the famous jazz musician and had his own jazz club.
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Wallmann, Harvey W., Carrie B. Gillis, Patricia T. Alpert, and Sally K. Miller. "The Effect of a Senior Jazz Dance Class on Static Balance in Healthy Women Over 50 Years of Age: A Pilot Study." Biological Research For Nursing 10, no. 3 (November 17, 2008): 257–66. http://dx.doi.org/10.1177/1099800408322600.
Повний текст джерелаАнотація:
The purpose of this pilot study is to assess the impact of a senior jazz dance class on static balance for healthy women over 50 years of age using the NeuroCom Smart Balance Master System (Balance Master). A total of 12 healthy women aged 54—88 years completed a 15-week jazz dance class which they attended 1 time per week for 90 min per class. Balance data were collected using the Sensory Organization Test (SOT) at baseline (pre), at 7 weeks (mid), and after 15 weeks (post). An equilibrium score measuring postural sway was calculated for each of six different conditions. The composite equilibrium score (all six conditions integrated to 1 score) was used as an overall measure of balance. Repeated measures analyses of variance (ANOVAs) were used to compare the means of each participant's SOT composite equilibrium score in addition to the equilibrium score for each individual condition (1—6) across the 3 time points (pre, mid, post). There was a statistically significant difference among the means, p < .0005. Pairwise (Bonferroni) post hoc analyses revealed the following statistically significant findings for SOT composite equilibrium scores for the pre (67.33 + 10.43), mid (75.25 + 6.97), and post (79.00 + 4.97) measurements: premid (p = .008); prepost (p < .0005); midpost (p = .033). In addition, correlational statistics were used to determine any relationship between SOT scores and age. Results indicated that administration of a 15-week jazz dance class 1 time per week was beneficial in improving static balance as measured by the Balance Master SOT.
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Carpenter, Angela C., and Andrea G. Levitt. "Rhythm in the Speech and Music of Jazz and Riddim Musicians." Music Perception 34, no. 1 (September 1, 2016): 94–103. http://dx.doi.org/10.1525/mp.2016.34.1.94.
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Previous research has demonstrated similarities in the rhythmic characteristics of the speech and instrumental music within individual languages, such as French or English, but clear differences in these rhythmic patterns between languages. A recent finding has shown a comparable result for the rhythmic patterns of the spontaneous speech and instrumental music of musicians who speak different dialects of English, such that within-dialect speech and music rhythms are more similar to one another than are across-dialect rhythms. We extend the latter finding by comparing the rhythmic characteristics of the spontaneous speech and jazz productions of jazz musicians who speak American English with those of the spontaneous speech and riddim productions of Jamaican musicians, who speak Jamaican English. We found that the speech and music rhythmic patterns were similar within each dialect but different across dialects. Though scholars have suggested a link between speech prosody and jazz in the past, this is the first study known to us to demonstrate a link between the rhythmic properties of the speech and music of jazz musicians.
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Macías, Anthony. "California’s Composer Laureate." Boom 3, no. 2 (2013): 34–51. http://dx.doi.org/10.1525/boom.2013.3.2.34.
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This essay uses the 1960s, Gerald Wilson’s most prolific period, as a window into his life and work as a big band jazz trumpeter, soloist, arranger, conductor, and composer. This selective snapshot of Wilson’s career inserts him more fully into jazz—and California—history, while analyzing the influence of Latin music and Mexican culture on his creations. Tracing the black-brown connections in his Alta California art demonstrates an often-overlooked aspect of Wilson’s musical legacy: the fact that he wrote, arranged, recorded, and performed Latin-tinged tunes, especially several brassy homages to Mexican bullfighters, as well as Latin jazz originals. Wilson’s singular soul jazz reveals the drive and dedication of a disciplined artist—both student and teacher—who continually honed his craft and expanded his talents as part of his educational and musical philosophy. Wilson’s California story is that of an African American migrant who moves out west, where he meets a Chicana Angelena and starts a family—in the tradition of Cali-mestizaje—then stays for the higher quality of life, for the freedom to raise his children and live as an artist, further developing and fully expressing his style. However, because he never moved to New York, Wilson remains under-researched and underappreciated by academic jazz experts. Using cultural history and cultural studies research methods, this essay makes the case that Gerald Wilson should be more widely recognized and honored for his genius, greatness, and outstanding achievements in the field of modern jazz, from San Francisco to Monterey, Hollywood, and Hermosa Beach.
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Hartley, Nell Tabor. "Jazzing Up The Psychological Contract." American Journal of Business Education (AJBE) 3, no. 4 (April 1, 2010): 21–26. http://dx.doi.org/10.19030/ajbe.v3i4.409.
Повний текст джерелаАнотація:
Helping students and practitioners to understand and utilize the Psychological Contract is often a difficult task. Unlike fault-finding research, this paper presents the PC as a positive, vibrant and valuable tool. In an effort to make the concept less elusive, the paper draws upon the metaphor of jazz. The metaphor is an accepted tool of learning. Both jazz and the Psychological Contract build upon new themes and accept occasional dissonance and are able to benefit from creative tension.