Книги: "Musical composition; jazz"

1

Sussman, Richard. Jazz composition and arranging in the digital age. New York: Oxford University Press, 2011.

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2

Boras, Tom. Jazz composition and arranging. Belmont, CA: Thomson/Schirmer, 2005.

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3

Ron, Miller. Modal jazz composition & harmony. Rottenburg/N., Germany: Advance Music, 1992.

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4

David, Baker. David Baker's Arranging & composing: For the small ensemble, jazz, R & B, jazz-rock. Van Nuys, CA: Alfred Pub. Co., 1988.

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5

Rick, Mattingly, ed. Jazz composition: Theory and practice. Boston, MA: Berklee Press, 2003.

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6

White, Andrew Nathaniel. A treatise on jazz composition. Washington, D.C: Andrew's Music, 1985.

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7

Coker, Jerry. Guide to jazz composition and arranging. [Rottenburg?]: Advance Music, 1998.

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8

Evans, Bill. The last compositions: Piano solos and leadsheets. New York, NY: Ludlow Music, 1991.

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9

Kessler, Dietrich. Neue Musiklehre & Songcomposing: Klassik, Jazz, Blues, Rock. Berlin: KDM., 1993.

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10

Exploratory musicism: Ideas for spontaneous composition. Binghamton, N.Y: Global Academic Pub., 2009.

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11

Hester, Karlton E. Exploratory musicism: Ideas for spontaneous composition. Binghamton, N.Y: Global Academic Pub., 2009.

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12

Eppstein, Ury. The beginnings of western music in Meiji era Japan. Lewiston, N.Y: Edwin Mellen, 1995.

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13

The beginnings of Western music in Meiji era Japan. Lewiston, N.Y: E. Mellen Press, 1994.

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14

Hester, Karlton E. The melodic and polyrhythmic development of John Coltrane's spontaneous composition in a racist society. Lewiston: E. Mellen Press, 1997.

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15

Ognenovski, Stevan. Tale Ognenovski, virtuoz na klarinet i kompozitor na makedonski narodni ora džez i klasična muzika: Biografija i notografirani kompozicii od makedonski narodni ora, džez i klasična muzika = Tale Ognenovski, virtuoso of the clarinet and composer of Macedonian folk dances, jazz and classical music : biography and music notation of compositions of Macedonian folk dances, jazz and classical music. Skopje: Matica Makedonska, 2000.

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16

The Complete Thesaurus of Musical Scales. Masaya Music, 2006.

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17

Martin, Henry. Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.001.0001.

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Charlie Parker, Composer is the first assessment of a major jazz composer’s oeuvre in its entirety. Providing analytical discussion of each of Parker’s works, this study combines music-theoretical, historical, and philosophical perspectives. A variety of analytical techniques are brought to bear on Parker’s compositions, including application of a revised Schenkerian approach to the music that was developed through the author’s prior publications. After a review of Parker’s life emphasizing his musical training and involvement in composition, the book proceeds by considering the types of Parker pieces as categorized by overall form and harmony and the amount of preplanned music they contain. The historical circumstances of each piece are reviewed, and, in some cases, sources of the ideas of the most important tunes are explored. The introduction includes a discussion of the ontology of a jazz composition. The view is advanced that the Western concept of a music composition needs to be expanded to embrace practices typical of jazz composition and forming a significant part of Parker’s work. While focusing on Parker’s more conventional tunes, the book also considers his large-scale melodic formulas. Two formulas in particular are arguably compositional, since they are extensive and sometimes appear in subsequent improvisations. As part of the research for this book, all of Parker’s copyright submissions to the Library of Congress were examined and photographed. The book reproduces the four of them that were copied by Parker himself.

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18

1929-, Snow Michael, Art Gallery of Ontario, Power Plant (Art gallery), and Michael Snow project, eds. Music/sound, 1948-1993: The performed and recorded music/sound of Michael Snow, solo and with various ensembles, his sound-films and sound installations : improvisation/composition from 1948 to 1993. Toronto: A.A. Knopf, 1994.

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19

Schmelz, Peter J. Alfred Schnittke's Concerto Grosso no. 1. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653712.001.0001.

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This book provides for the first time an accessible, comprehensive study of Alfred Schnittke’s Concerto Grosso no. 1 (1977). One of Schnittke’s best-known and most compelling works, the Concerto Grosso no. 1 sounds the surface of late Soviet life, resonating as well with contemporary compositional currents around the world. This innovative monograph builds on existing publications about the Concerto Grosso no. 1 in English, Russian, and German, augmenting and complicating them. It adds new information from underused primary sources, including Schnittke’s unpublished correspondence and his many published interviews. It also engages further with his sketches for the Concerto Grosso no. 1 and contemporary Soviet musical criticism. The result is a more objective, historical appraisal of this rich, multifaceted composition. The Concerto Grosso no. 1 provided a utopian model of the contemporary soundscape. It was a decisive point in Schnittke’s development of the approach he called polystylism, which aimed to contain in a single composition the wide range of contemporary musical styles, including jazz, pop, rock, and serial music. Thanks to it and his other similar compositions, Schnittke became one of the most-performed and most-recorded living composers at the end of the twentieth century. The novel structure of this book engages the Concerto Grosso no. 1 conceptually, historically, musically, and phenomenologically: the six movements of the composition frame the six chapters. The present volume thus provides a holistic accounting of Schnittke’s Concerto Grosso no. 1, its influences, and its impact on subsequent music making in the Soviet Union and worldwide.

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20

Strauss, Lena. Composition Notebook: Vintage Venue_ Birdland Jazz Club Fan Music Notebook Fan Musical Violin Theory Anthology Concerto Cello Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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21

Weiss, Susan Forscher. When the Little Bluebird Starts to Sing. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040092.003.0002.

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This chapter follows the trajectory of Porter's musical formation, starting from his first known composition that he wrote in 1901 at the age of ten and dedicated to his mother, a programmatic work for piano entitled “The Song of the Birds.” His compositions can be described as an amalgam of styles, combining his early classical training and exposure to opera, ballet, ragtime, popular music, and jazz. He had an innate gift for mimicking the sounds around him, breezily absorbing the idioms and nuances of the speech and melodies he heard. His social skills provided a network of influential friends and artists who provided him with ideas and feedback. By the late 1920s Porter had given up on the idea of becoming a serious classical composer and instead concentrated on writing sophisticated, witty lyrics, molding them to his signature musical style just for listeners who wanted to enter his world and share his encounters with elegance and artistry.

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22

Baber, Katherine. Leonard Bernstein and the Language of Jazz. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042379.001.0001.

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For Leonard Bernstein, music was a language capable of communicating more directly than in words, and jazz was a crucial part of his musical vocabulary. As an idiom made up of a range of styles--whether stride, boogie-woogie, swing, bebop, or cool--jazz was central to Bernstein’s compositional aesthetic, particularly in his approach to tonality and to defining American music. The blues, as a special part of this jazz idiom, also helped Bernstein articulate a personal identity, expressing everything from sensuality to humor to loss and isolation. This book will examine the shifting meanings of Bernstein’s jazz language in theatrical and symphonic works from across his career. His commitment to jazz in works like On the Town, West Side Story, and Mass also demonstrates Bernstein’s conviction that music could be socially engaged and that jazz was one of the most effective means of engagement. The plurality of jazz styles in Bernstein’s music resonates with many of America’s most significant political and cultural questions, including shifts in the relationship between African American and Jewish American identities. The language of jazz helped Bernstein find a voice in the political and musical senses and continually rearticulate his own American musical identity.

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23

Cook, Nicholas. Music as Creative Practice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.001.0001.

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Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction—of which making music together is perhaps the clearest possible illustration—and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it.Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity—from the old myths about genius to present-day sociocultural theory—can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.

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24

Jazz Composition and Orchestration. University Of Chicago Press, 1996.

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25

Russo, William. Jazz Composition and Orchestration. University Of Chicago Press, 1997.

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26

Beal, Amy C. Dreams So Real. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0011.

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This concluding chapter argues that because of the variety of musical styles cohabitating within Carla Bley's pieces, the label “jazz musician”—which music critics to an extent rightly but far too narrowly apply to her—fails to adequately address the full range of her compositional prowess; rather, it merely points to the instrumental forces for which she frequently prefers to write. Indeed, the musical techniques of Bley's diverse compositional output are varied, their moods can be edgy or serene, and their powers of expression are vast. They are also abstract and narrative, original and full of borrowings. To date she has almost three hundred works registered with BMI and has participated in well over forty recording projects, twenty-seven of which are releases in her own name, placing her among the most accomplished composers, band leaders, and recording artists working in America today.

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27

Pease, Ted. Jazz Composition: Theory and Practice. Berklee Press, 2003.

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28

Pease, Ted. Jazz Composition: Theory and Practice. Leonard Corporation, Hal, 2003.

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29

Pease, Ted. Jazz Composition: Theory and Practice. Leonard Corporation, Hal, 2003.

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30

Pease, Ted. Jazz Composition: Theory and Practice. Leonard Corporation, Hal, 2003.

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31

Fraser, Benjamin. Beyond Sketches of Spain. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197549285.001.0001.

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Abstract No musician did more to shape Iberian jazz than pianist Vicenç Montoliu i Massana (1933–1997), who was known simply as “Tete.” Reflecting his fascination with the modernist aesthetics of mid-century jazz, Tete Montoliu was known for his quick fingering, his carefully crafted mix of lyricism and dissonance, his penchant for discordant crashes, and his development of highly original compositions. He boasted some 100 recordings spanning Denmark, Germany, Holland, Spain, and the United States, and performed with the most notable jazz luminaries, including Lionel Hampton, Rahsaan Roland Kirk, Dexter Gordon, and Archie Shepp. Acknowledging and drawing musical inspiration from the Black American jazz form, Tete fashioned an adjacent critical space shaped by his experiences as a Catalan and a person with congenital visual impairment living under the dictatorship of Francisco Franco. Beyond Sketches of Spain: Tete Montoliu and the Construction of Iberian Jazz explores the artist’s life, musical production, and international reception within a cultural studies framework. This book moves beyond mere sketches of Spanish nationhood to challenge conventional scholarly narratives and recover links between the United States, Barcelona, Catalonia, Spain, and Europe in the investigation of an impressive and often overlooked transnational modern jazz legacy. Eschewing Theodore Adorno’s denigration of Black American jazz, a more compelling model is found in Fumi Okiji’s notion of gathering in difference. In this work, Benjamin Fraser deftly mixes musical biography with urban history, spatial theory, and disability studies, fashioning a highly readable text for readers from all disciplines.

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32

Loza, Steven, and Anthony Wilson. The Jazz Pilgrimage of Gerald Wilson. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816023.001.0001.

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Jazz great Gerald Wilson (1918–2014), born in Shelby, Mississippi, left a global legacy of paramount significance through his progressive musical ideas and his orchestra's consistent influence on international jazz. Aided greatly by interviews that bring Wilson's voice to the story, this book presents a perspective on what the musician and composer called his “jazz pilgrimage.” Wilson uniquely adapted Latin influences into his jazz palette, incorporating many Cuban and Brazilian inflections as well as those of Mexican and Spanish styling. Throughout, the book refers to Wilson's compositions and arrangements, including their historical contexts and motivations. It provides savvy musical readings and analysis of the repertoire, and concludes by reflecting upon Wilson's ideas on the place of jazz culture in America, its place in society and politics, its origins, and its future. With a foreword written by Wilson's son, Anthony, and such sources as essays, record notes, interviews, and Wilson's own reflections, the biography represents the artist's ideas with all their philosophical, historical, and cultural dimensions. Beyond merely documenting Wilson's many awards and recognitions, this book ushers readers into the heart and soul of a jazz creator. Wilson emerges a unique and proud African American artist whose tunes became a mosaic of the world.

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33

Wolfram, Knauer, and Jazz-Institut Darmstadt, eds. Jazz und Komposition: Eine Veröffentlichung des Jazz-Instituts Darmstadt. Hofheim: Wolke, 1992.

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34

Anderson, Virginia, ed. Interviews with American Composers. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.001.0001.

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This collection of interviews, published for the first time, advances our knowledge of musical thought, technique, education, life, and work in American composition in and around 1972. That year the composer Barney Childs began to conduct a series of interviews (or “conversations,” as he called them) with a diverse set of American new music composers who were then around thirty-forty years old. The composers determined the topics and content of the conversations, resulting in honest assessments of their concerns at the time of the interview, delivered with personal observations, humor, and passion. Childs was unable to interest publishers in his book, as the composers were young and just established, so he put them away. After intensive restoration, the surviving twenty-three conversations and fragments (Childs mentioned twenty-five completed interviews of a planned thirty-two) include many composers who have influenced the course of American concert music in the years since. Their styles are varied and include minimalism and imminent postminimalism, serialism, electronics, opera, pop and jazz crossovers, multimedia, and other areas of musical activity. Their conversations, enhanced and contextualized for present-day readers in essays by experts on the life and music of each composer, offer a unique glimpse into the state of being American in musical life in 1972, and a perspective on how American music became what it is today.

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35

Beal, Amy C. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0001.

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This introductory chapter provides a background of Carla Bley and her music. Bley is a prolific and influential American composer. And though her career, which began in the 1950s, has taken place largely within the venues and institutions of the jazz world, her music is often characterized as Third Stream, postmodernist, or just plain experimental—these labels due in part to her ability to write conventional big-band charts as well as classically influenced chamber works. Her compositions fall into a number of overlapping categories: lead sheets and short jazz tunes designed for improvising, completely notated and orchestrated chamber music, big-band ensemble parts, and larger works containing multiple connected parts. Indeed, her oeuvre offers a staggering amount of variety, and for the most part, her compositional style is impossible to classify.

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36

Carlton, Larry. The jazz king: The musical compositions of H.M. King Bhumibol Adulyadej. 2018.

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37

Tan-Tangbau, Stan BH, Văn Minh Quyên, and Yosuke Yamashita. Playing Jazz in Socialist Vietnam. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496836335.001.0001.

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Is there jazz in socialist Vietnam? The answer is “yes,” even though jazz was once perceived as “music of the enemy.” Playing Jazz in Socialist Vietnam tells the story of saxophonist, Quyền Văn Minh, who helped to give jazz a place in socialist Vietnam. This is an intimate account of a life in jazz under socialism in Vietnam, set in the broader contexts of radical social revolution, war, and uncertainty of political change when peace returned. After accidentally encountering jazz on the transistor radio as a child, Minh embarked on a life-long quest to learn and play the music. From a self-taught musician who played at wedding gigs, he rose to become a respectable professional musician in successive song and dance troupes. Minh’s desire to play jazz motivated him to present the genre in socialist Vietnam’s public sphere, which inadvertently led to a teaching career at the national conservatoire. In 1994, he premiered three original jazz compositions in the first jazz concert performed by Vietnamese musicians at the Hà Nội Opera House. Releasing his debut jazz album, Birth ’99, Minh helped to give shape to the nascent genre of “Vietnamese jazz.” Eventually, he founded Minh’s Jazz Club to create a space for musicians to play jazz and Vietnamese audience to learn about jazz. Written in a creative melange of autoethnography, analytical interventions, and broad contextualizations that faithfully projects the voice of the protagonist, readers could see how the complex political and social contexts of socialist Vietnam are actually experienced by real people. Through the story of Minh, we show how jazz in socialist Vietnam, as we believe in many other Asian countries and formerly socialist Eastern European countries, is mediated by passion, tenacity, and innovation of devoted musicians who saw in jazz the power of artistic self-expression.

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38

Bomberger, E. Douglas. Making Music American. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.001.0001.

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Nineteen seventeen, the year the United States entered World War I, was transformative for American musical culture. The European performers who had dominated classical concert stages for generations came under intense scrutiny, and some of the compositions of Austro-German composers were banned. This year saw the concurrent rise of jazz music from a little-known regional style to a national craze. Significant improvements in recording technology facilitated both the first million-selling jazz record and the first commercial recordings of full symphony orchestras. In a segregated country, as the US military wrestled with how to make use of several million African Americans who had registered for the draft, James Reese Europe broke down racial barriers with his Fifteenth New York National Guard Band. This book tells the story of this year through the lives of eight performers: orchestral conductors Karl Muck and Walter Damrosch, violinist Fritz Kreisler, pianist Olga Samaroff, contralto Ernestine Schumann-Heink, jazz cornetists Dominic LaRocca and Freddie Keppard, and army bandmaster James Reese Europe. Their individual stories, traced month by month through the eventful year of 1917, illuminate the larger changes that convulsed the country’s musical culture and transformed it in uniquely American ways.

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39

Sarzin, Evan, and Evan Sarzen. Hard Bop Piano: Jazz Compositions of the 50s and 60s. Gerard & Sarzin Publishing Company, 1992.

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40

Instrumental Jazz Arranging: A Comprehensive and Practical Guide. Hal Leonard Corporation, 2008.

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41

Music Musique: French & American Piano Composition in the Jazz Age. Indiana University Press, 2006.

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42

Townsend, Peter. The Evolution of Music through Culture and Science. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.001.0001.

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Music is an international key aspect of humanity which impacts life, from love songs to religion, politics, and warfare. Changes in culture and developments in science drove musical progress from printing and distribution to instrumental improvements, innovation, and the acoustics of buildings and concert halls. Every aspect increased public demand and changed compositional styles, plus heightened the need for virtuosic star performers. Conversely, the attempts to record and distribute music inspired the growth of recording systems, microphones, and electronic amplifiers, which has resulted in the electronically dominated world as we now know it. The book maps these continuous changes and how they have influenced musical evolution, and it not only explores the past, but attempts to predict the near future in terms of the potential for new electronic instruments and the ongoing shifts between recording and broadcasting techniques (tapes, vinyl, CDs, streaming, etc.), together with their impact on, and the survival of, the music industry. Examples of changes for keyboard, string, and brass instruments, current understanding of voice production, hearing, and brain processing of music are all discussed. This book is for those interested in all aspects of music, from classical to jazz and pop. It does not require either scientific or musical backgrounds, but it will enhance enjoyment of music, and reveal the probable future of musical trends.

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43

Miller, Leta E. Learning the Craft. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0002.

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This chapter studies Kernis's early years and training. During the seventh grade, Mary Jane Scholl, a freelance music teacher, started Kernis on the violin. She also introduced him to some basic concepts of music theory and elementary composition—writing simple counterpoints and four-part chorales—which eventually led him into free composition and his first instrumental pieces. Kernis then began to teach himself piano “by sight-reading all the music [he] could get [his] hands on.” During high school, he studied jazz keyboard harmony at Temple University. He also took private piano lessons there, but after acting as his own teacher for so many years, he had developed enough bad habits that both he and the teacher were frustrated. By the time Kernis left for college in the fall of 1977, he had already won awards in composition from the National Federation of Music Clubs (NFMC).

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44

Meister, Barbara. Music Musique: French and American Piano Composition in the Jazz Age. Indiana University Press, 2006.

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45

Muller, Carol. Sathima Bea Benjamin. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037245.003.0009.

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This chapter explores the life and career of Sathima Bea Benjamin, who grew up in Cape Town, South Africa, during the transition to apartheid in the 1940s. Taking melodies she heard on her grandmother's radio, Sathima developed her own jazz singing voice, weaving in her own compositions. With a life embedded in an awareness of race and gender, she left for Europe in 1962. Her migratory lifestyle took her through tours in Europe, supporting her husband musician and caring for her daughters, to her own career development in New York City as a jazz singer with her own trio—where she continues to record, create, and perform. Sathima's vocality and life-stories reveal risks, freedoms, and creative processes as she creates a counternarrative to the discourses of masculinity in jazz.

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46

Jazz Arranging and Composing : A Linear Approach/Compact Disc. Advance Music, 1986.

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47

Crist, Stephen A. Dave Brubeck's Time Out. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190217716.001.0001.

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This book is the first full-length study of Time Out by the Dave Brubeck Quartet, one of the most commercially successful albums in the history of jazz. Although the music of Time Out is exceedingly well known, and it remains a vital element of the American soundscape, it has received very little scholarly investigation until now. A central group of chapters examines the project’s seven cuts from several different points of view. The Quartet’s creative process is charted, from Brubeck’s earliest compositional sketches and drafts through multiple takes of the recording sessions in 1959. Other topics that receive attention include Brubeck’s ability to meld jazz with classical and world musics, the album’s recorded legacy, the role of lyrics in later recordings of this repertoire, and Brubeck’s contributions to metrical experimentation in jazz. These chapters are preceded by several others that trace the path leading to Time Out, from Brubeck’s student days and the Quartet’s rise to fame in the early 1950s. The book concludes with consideration of its resonances in four additional “time” albums in the 1960s. Informed by a wealth of documentary evidence from several major archives, this study reveals many aspects of Time Out that previously have been hidden from view. It also attempts to articulate a judicious view of this album’s role in jazz of the 1950s and 1960s.

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48

Lilley, Andrew K. The Artistry of Bheki Mseleku. African Minds, 2020. http://dx.doi.org/10.47622/9781928331667.

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Bheki Mseleku is widely regarded as one of the most gifted, technically accomplished and emotionally expressive jazz musicians to have emerged from South Africa. His individualistic and eclectic sound draws on American, classical and township influences. He had no apparent formal music training and grew up in a poor village on the outskirts of Durban where, at the fairly late age of seventeen, he discovered that he had an innate ability to play. He has become a key inspiration for aspiring young South African jazz musicians and has left an infinite source of knowledge to draw on. The Artistry of Bheki Mseleku is an in-depth study of the Mselekus compositional works and improvisational style. The annotated transcriptions and analysis bring into focus the exquisite skill and artistry that ultimately caught the eye of some of the most celebrated international jazz musicians in the world.

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49

Smith, Gregory Eugene. Homer, Gregory, and Bill Evans?: The theory of formulaic composition in the context of jazz piano improvisation. 1988.

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50

Help!: The Beatles, Duke Ellington, and the magic of collaboration. 2018.

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Книги з теми "Musical composition; jazz"

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