Relevant bibliographies by topics / Australian jazz

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Australian jazz'

Author: Grafiati
Published: 10 December 2022
Last updated: 20 February 2023

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Journal articles on the topic "Australian jazz"

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JOHNSON, BRUCE. "DOCTORED JAZZ Early Australian Jazz Journals." Perfect Beat 3, no. 4 (October 5, 2015): 26–37. http://dx.doi.org/10.1558/prbt.v3i4.28738.

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Whiteoak, John. "‘Jazzing’ and Australia's First Jazz Band." Popular Music 13, no. 3 (October 1994): 279–95. http://dx.doi.org/10.1017/s0261143000007200.

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A growing tendency to study Australian popular musics as an aspect of Australian cultural studies has begun to bear fruit in the form of long overdue appraisal of the socio-cultural and musical significance of these musics. Yet in our justified enthusiasm for the exciting horizons made visible by this development, it is possible to forget that music research can serve more traditional but nevertheless important functions. In the study of popular musics, in particular, knowing how music was played can be more important than knowing what piece of repertoire was performed. For example, discovering what was ‘done’ to music in performance can tell us about the sound of unrecorded genres and can facilitate (for whatever reason) the reconstructed performance of these genres. Knowing that specific performance gestures (such as ‘flattened’ or ‘blues’ notes) were applied can of course increase our understanding of the social, cultural, and even the political nature of specific musics. In this article I am mostly concerned with applying this notion of ‘doing things’ to music to the retrieval of musical information about a specific ensemble. This more or less indigenous ensemble, which was promoted in 1918 as ‘Australia's First Jazz Band’, has captured the imagination of Australian jazz writers and is widely considered to represent the beginning of Australian jazz (Bissett 1979, p. 9).
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Stevens, Timothy. "The Red Onion Jazz Band at the 1963 Australian Jazz Convention." Musicology Australia 24, no. 1 (January 2001): 35–61. http://dx.doi.org/10.1080/08145857.2001.10416440.

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Madura Ward-Steinman, Patrice. "Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers A Factor Analytic Study." Journal of Research in Music Education 56, no. 1 (April 2008): 5–17. http://dx.doi.org/10.1177/0022429408322458.

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In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative thinking criteria; free improvisations were rated only on creativity criteria. The results are as follows: (a) A significant difference was found between jazz and free improvisation achievement; (b) extensive jazz experience, especially study and listening, was found to be significantly correlated with vocal improvisation achievement; (c) 3 factors were found to underlie jazz improvisation: jazz syntax, vocal creativity, and tonal musicianship; and (d) 3 factors were found to underlie free improvisation: musical syntax, vocal creativity, and scat syllable creativity.
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Whiteoak, John. "White Roots, Grey Flowers? Multiple Conceptions of Early Australian ‘Jazz’ and Pre-‘Jazz' History." Musicology Australia 37, no. 2 (July 3, 2015): 234–50. http://dx.doi.org/10.1080/08145857.2015.1055075.

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Zion, Lawrence. "The impact of the Beatles on pop music in Australia: 1963–66." Popular Music 6, no. 3 (October 1987): 291–311. http://dx.doi.org/10.1017/s0261143000002336.

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For young Australians in the early 1960s America was the icon of pop music and fashion. This was the result of the projection of America through the mass media and the numerous American rock'n'roll acts that were brought to Australia by Lee Gordon, an American entrepreneur who lived in Sydney (Zion 1984). This overall tendency led the American, A. L. McLeod, to observe when writing about Australian culture in 1963 thatin general, Australian popular music is slavishly imitative of United States models; it follows jazz, swing, calypso or whatever the current fashion is in New York or San Francisco at a few months distance. (McLeod 1963, p. 410)Yet by late 1963 the potency of America was in decline. For while the Californian surf music craze made a somewhat delayed impact, especially in Sydney, the popularity of the Beatles was gathering momentum. This can be traced crudely through the Top Forty lists of the day: in Sydney the song ‘From Me To You’ entered the charts on 12 July 1963 and eventually reached number six (Barnes et al. 1979, p. 50).
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Coady, Christopher, and Michael Webb. "Resisting Best-Practice in Australian Practice-Based Jazz Doctorates." British Journal of Music Education 34, no. 1 (October 25, 2016): 71–80. http://dx.doi.org/10.1017/s0265051716000310.

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Recent research on practice-based doctorates in Australia has revealed an institutional preference for ‘theorised’ research approaches aimed at situating studies of practice within established academic paradigms. In this article we examine how the aim of communicating with artistic peers steers the research design and the production of text-based artefacts for a group of practice-based doctoral students working on jazz topics (n = 11) away from theorised approaches and towards what is commonly referred to as a ‘commentary’ approach. This finding reveals the extent to which the values of an artistic community can influence the scope of what is discussed within practice-based doctorates and highlights the need for ongoing discussion related to how such values might best interface with what institutions view as best-practice research frameworks.
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Johnson, Bruce. "The great divide ‐ Australian traditional Jazz and the academies." Journal of Australian Studies 16, no. 34 (September 1992): 32–42. http://dx.doi.org/10.1080/14443059209387106.

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Gerrand, Peter. "Tony Newstead (1923-2017)." Australian Journal of Telecommunications and the Digital Economy 5, no. 4 (December 25, 2017): 87–96. http://dx.doi.org/10.18080/ajtde.v5n4.135.

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Tony Newstead, who died on 6 November 2017, was a pioneering figure in Australian and worldwide telecommunications network planning, as well as in Australian trad jazz as both a trumpeter and early bandleader. This obituary attempts to do justice to his career in both fields. In an Attachment, Dr Clemens Pratt provides a short memoir in appreciation of Tony’s role as his career mentor and colleague, and John Burke provides an appreciation of Tony’s innovatory role in pioneering open planning in Australian telecommunications.
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Newstead, Mark, Clemens Pratt, John Burke, and Peter Gerrand. "Tony Newstead (1923-2017)." Journal of Telecommunications and the Digital Economy 5, no. 4 (December 25, 2017): 87–96. http://dx.doi.org/10.18080/jtde.v5n4.135.

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Tony Newstead, who died on 6 November 2017, was a pioneering figure in Australian and worldwide telecommunications network planning, as well as in Australian trad jazz as both a trumpeter and early bandleader. This obituary attempts to do justice to his career in both fields. In an Attachment, Dr Clemens Pratt provides a short memoir in appreciation of Tony’s role as his career mentor and colleague, and John Burke provides an appreciation of Tony’s innovatory role in pioneering open planning in Australian telecommunications.
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Dissertations / Theses on the topic "Australian jazz"

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Ayrton, Brook Alan. "Keith Stirling : An introduction to his life and examination of his music." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7728.

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This study introduces the life and examines the music of Australian jazz trumpeter Keith Stirling (1938-2003). The paper discusses the importance and position of Stirling in the jazz culture of Australian music, introducing key concepts that were influential not only to the development of Australian jazz but also in his life. Subsequently, a discussion of Stirling’s metaphoric tendencies provides an understanding of his philosophical perspectives toward improvisation as an art form. Thereafter, a discourse of the research methodology that was used and the resources that were collected throughout the study introduce a control group of transcriptions. These transcriptions provide an origin of phrases with which to discuss aspects of Stirling’s improvisational style. Instrumental approaches and harmonic concepts are then discussed and exemplified through the analysis of the transcribed phrases. Stirling’s instrumental techniques and harmonic concepts are examined by means of his own and student’s hand written notes and quotes from lesson recordings that took place in the early 1980s.
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Rose, Jeremy Philip. "A Deeper Shade of Blue: A Compositional Folio Informed by Ethnographic Research into the Sydney Jazz Scene." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14901.

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This folio contains scores and audio recordings of five original compositions with critical commentary and ethnographic investigation. The research aims to test existing concepts of an Australian jazz identity and create new constructs for how music is created by a practicing jazz composer and performer. The research presents the results elicited from 11 interviews with selected Sydney jazz scene participants, providing an oral account of the way they create, conceive and perceive jazz music in Sydney and to compare evidence. In the five compositions I research various ways of integrating improvisation, non-Western and Australian influences into jazz and classical music contexts. I provide a case study of eclecticism and the role of improvisation in shaping programmatic goals with specific reference of my major work Iron in the Blood: Music Inspired by Robert Hughes’ The Fatal Shore for jazz orchestra and two narrators. The other works include River Meeting Suite for saxophone quartet, sitar, vocals, tabla and iphone, Oneirology for saxophone quartet and piano, Between Worlds for string quartet and saxophone and Border Control for flute, piccolo, bass clarinet, trumpet and vibraphone. This research addresses some of the deficiencies in the literature on Sydney jazz and creative music and illuminates the creative practices lying behind the creation of localised jazz identities through a case study of my composition portfolio and creative process. By expanding discussion beyond my own compositions, this project helps flesh out how “Australian” approaches to jazz composition, are realised across the Sydney scene and how these are distinct from other locales of jazz music production around the world. My perspective as a significant stakeholder within the jazz community, given that I am a performer, composer, performing artist, band manager and label director provides the research with a unique credibility and valuable insight into the field.
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Waddell, Simone. "Communicating artistry through gesture by legendary Australian jazz singer Kerrie Biddell." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18635.

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Singers communicate with audiences using a sophisticated blend of vocal, musical and physical gestures. While gestures appear naturalistic and spontaneous, they are the culmination of extensive preparation, reflection and rehearsal. The late Kerrie Biddell, (1947-2014) was arguably the most influential jazz singer in Australian Jazz history (Carriage 2000) and an expert in communication with her audiences. The aim of the study was to explore how Biddell designed and transmitted vocal, musical and physical gestures in performance and how she transmitted these to her colleagues and students. Five of Biddell’s former singing students and professional musical colleagues were invited to participate in an interview to explore the way in which Biddell utilised gestures and techniques to maximise her performance presentation. Each participant recounted their personal knowledge and history of working with Biddell, and analysed a video of Biddell performing live on Australian television to document how she effortlessly translated gestures into captivating performance. Participants reflected on their experience working with Biddell, and described how she was renowned for her stage presence, physical gestures, and facial animation. All described the way in which Biddell would create a scenario to depict the text of the song, and prepare a character to ensure her gestures were authentic and genuine to her audiences. Findings will be considered in the context of recent studies in performance and non-verbal communication. Future work on gesture must consider the work of leading performer/teachers and discover how they conceptualise and communicate gesture to audiences.
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Abbey, Nicholas Leonard. "Phantoms, An original jazz trio studio recording - and - Dispelling phantoms: An Australian bassist exploring assumptions of jazz practice, An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2259.

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This PhD research explores ways of adapting to the reportedly common creative, financial, and psychological challenges facing jazz musicians developing and operating in the late 2010s, an era in which the context surrounding jazz music is rapidly evolving. Motivated by the problem of resolving my own creative inertia and personal wellbeing dysfunctions, born of grappling with these issues as an Australian freelance bassist, this study investigates the theory that often-unquestioned assumptions underpinning practice are sedimented socially and that those based on historic, hegemonic, or habitual practices may no longer be universally appropriate. In doing so, it contributes to a growing and necessary dialogue about the ‘why’ and ‘how’ of practice. With the aim of restructuring a more personally productive, sustainable, and meaningful approach to musicking, the primary research question asks: How can revising the musical and extra-musical assumptions of my jazz practice improve its processes and facilitate the generation of new creative work? The idiosyncratic and multifaceted methodology developed to investigate this question is itself an essential component of the research and a useful addition to research in the field. To uncover and revise tacit assumptions, the employed practice-led research methodology combines a suite of methods familiar to jazz practice and borrowed from qualitative research traditions with iterative creative cycles and several additional complementary theoretical concepts. The linchpin of this research strategy is a series of ten semi-structured interviews with bassists of a similar demographic (Sam Anning, Alex Boneham, Tom Botting, Anna Butterss, Karl Dunnicliff, David Groves, Noel Mason, Linda May Han Oh, Adam Spiegl, and Georgia Weber), which illuminate characteristics of contemporary practice and have provoked widespread changes to my own approach. The theorising and testing of revised strategies led to new personal clarity about the purpose and imperatives of practice, enriched my musical understanding, provided insight into factors influencing self-doubt, established a revised compositional framework, and ultimately facilitated the creation of the studio album Phantoms (Nick Abbey, 2019). Treating these developments as a case study, the research extends the particulars of my practice to present transferrable implications for other practitioners and identifies avenues for future research; for instance, it questions assumptions around ‘freelance jazz musicianship’ in the ‘precarious gig economy’ and highlights the importance of ‘self-efficacy’ as a theoretical construct for jazz musicians. The research’s overarching recommendations are that practice assumptions be routinely elucidated and assessed; practitioners and practitioner-researchers strive towards a more uplifting and pluralistic climate of practice; and contemporary, holistic, and socially minded research continues to increase in prevalence.
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Brenton, Gregory Roy. "Emerging strategies for Western Australian secondary school jazz ensemble directors: Improving engagement with drum set students." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2236.

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Drum set education is a specialised field, but its importance is often underestimated in Western Australian (WA) secondary school jazz ensembles. Many secondary school jazz ensemble directors specialise in instruments other than drum set, and consequently may lack knowledge and skills in this area to the detriment of both the drum set student and the ensemble. This research project investigated the interaction between selected secondary school jazz ensemble directors in WA, and their drum set students during rehearsals. In particular, it set out to examine the impact of the jazz ensemble director on student engagement, inclusion, leadership, collaborative learning and technical development. As part of an action research methodology, the study implemented a professional development intervention with the jazz ensemble directors and sought to assess the impact of the intervention in subsequent rehearsals. It noted an increase in positive interactions between ensemble directors and their drum set students. The study affirmed the value in instrument specific professional development for jazz ensemble directors to the benefit of both the jazz ensemble and in particular the drum set student.
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Schmidt, Emanuel. "Communication processes in jazz performance." Thesis, Sydney Conservatorium of Music, 2005. http://hdl.handle.net/2123/13718.

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Ryu, Kelly. "The Place of Jazz in the NSW Secondary School Classroom." Thesis, Music Education, 2020. https://hdl.handle.net/2123/24124.

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Jazz is one of the most commonly taught musical styles in various educational contexts worldwide. Nevertheless, jazz teaching and learning resource materials are predominantly designed for those who have advanced beyond a basic level of competence. Further, the common understanding of jazz as a uniquely American style, in conjunction with Australia’s geographical and cultural distance from the USA, tend to feed the perception of foreignness of jazz when it comes to discussions of its place in Australia. For these reasons, classroom jazz education poses a unique set of challenges for Australian music teachers. This qualitative multiple case study examined five NSW secondary school music teachers’ perceptions of jazz, the extent and nature of its inclusion in their classroom curricula, and their classroom jazz teaching approaches. Data were collected from a series of semi-structured interviews, which revealed that although limited by its narrow appeal, teachers considered jazz to be highly effective in facilitating creativity, collaboration, and individuality of expression in students when carefully scaffolded and differentiated. The findings of the study indicate that while jazz may not be highly visible in NSW secondary schools, it is certainly viable and well-positioned to make a unique and worthwhile contribution to school music offerings.
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Cleary, Emma. "Jazz-shaped bodies : mapping city space, time, and sound in black transnational literature." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2205/.

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“Jazz-Shaped Bodies” addresses representations of the city in black transnational literature, with a focus on sonic schemas and mapping. Drawing on cultural geography, posthumanist thought, and the discourse of diaspora, the thesis examines the extent to which the urban landscape is figured as a panoptic structure in twentieth and twenty-first century diasporic texts, and how the mimetic function of artistic performance challenges this structure. Through comparative analysis of works emerging from and/or invested with sites in American, Canadian, and Caribbean landscapes, the study develops accretively and is structured thematically, tracing how selected texts: map the socio-spatial dialectic through visual and sonic schemas; develop the metaphorical use of the phonograph in the folding of space and time; revive ancestral memory and renew an engagement with the landscape; negotiate and transcend shifting national, cultural, and geographical borderlines and boundaries that seek to encode and enclose black subjectivity. The project focuses on literary works such as James Baldwin’s intimate cartographies of New York in Another Country (1962), Earl Lovelace’s carnivalising of city space in The Dragon Can’t Dance (1979), Toni Morrison’s creative blending of the sounds of black music in Jazz (1992), and the postbody poetics of Wayde Compton’s Performance Bond (2004), among other texts that enact crossings of, or otherwise pierce, binaries and borderlines, innovating portals for alternative interpellation and subverting racially hegemonic visual regimes concretised in the architecture of the city. An examination of the specificity of the cityscape against the wider arc of transnationalism establishes how African American, AfroCaribbean, and Black Canadian texts share and exchange touchstones such as jazz, kinesis, liminality, and hauntedness, while remaining sensitive to the distinct sociohistorical contexts and intensities at each locus, underscoring the significance of rendition — of body, space, time, and sound — to black transnational writing.
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Bryant, Gai. "Cuban Folkloric and Traditional Music Styles: rumba, danzón, punto libre and bolero adapted for Jazz Big Band in Australia using Modern Compositional Techniques." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15760.

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This research has focused on the adaptation and interpretation of Cuban folkloric styles of rumba, danzon, punto libre and bolero. The dearth of commercial recording during the troubled years of Gerardo Machado's presidency (1925-1933) and the revolution of 1959 made it necessary to source archival recordings of rumba and punto libre as well as conduct interviews with living Cuban musicians and musicologists in order to research these folkloric genres. Whilst numerous recordings of danzón and bolero for large ensemble exist no texts were found regarding the orchestration of these styles across a standard jazz big band. This research investigates music and dance elements specific to each style and supports the orchestration of nine compositions for standard jazz big band using these elements. Experts in this field such as Rebeca Mauleón and Larry Crook have presented examples of rhythmic layering, call and response and improvisation inherent in these styles, but do not address the ways that instrumentation, tag lines, tempi, breaks and song forms in rumba, danzon, punto libre and bolero can be effectively adapted for large jazz ensemble. My finding is that big band composers including Lalo Schifrin ('LatinJazz Suite') have not employed the richness and complexity of the true folkloric elements of Cuban music styles in their arrangements. To fill this gap in current compositional knowledge my orchestrations and compositions respectfully draw from the elements that I have discovered through my research. A rigorous analysis of Cuban music styles in English accompanied by scores, recordings with examples of phrasing and the distribution of rhythmic and melodic material across the ensemble has been offered with this thesis.
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Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "An intercultural approach to composition and improvisation." THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.

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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries
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Books on the topic "Australian jazz"

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Jazz: The Australian accent. Sydney: University of New South Wales Press, 2008.

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Jack, Mitchell. More Australian jazz on record. Canberra: Australian Film and Sound Archive, 1998.

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The Oxford companion to Australian jazz. Melbourne: Oxford University Press, 1987.

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Mitchell, Jack. Australian jazz on record, 1925-80. Canberra: Australian Government Publishing Service, 1988.

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Jack, Mitchell. Australian jazz on record, 1925-80. Canberra: Australian Govt. Pub. Service, 1988.

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Johnson, Bruce. The Oxford companion to Australian jazz. Melbourne: Oxford University Press, 1987.

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1926-, Mitchell Jack, ed. Graeme Bell, Australian jazzman: His autobiography. Frenchs Forest, NSW, Australia: Child & Associates, 1989.

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Sangster, John. Seeing the rafters: The life and times of an Australian jazz musician. Ringwood, Vic., Australia: Penguin Books, 1988.

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Ryan, Tracy. Jazz tango. Fremantle, W.A: Fremantle Arts Centre Press, 2002.

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Antipodean riffs: Essays on Australasian jazz. Sheffield, UK: Equinox Publishing, 2016.

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Book chapters on the topic "Australian jazz"

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Hall, Clare, and Robert Burke. "Negotiating Hegemonic Masculinity in Australian Tertiary Jazz Education." In The Routledge Companion to Jazz and Gender, 336–47. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003081876-30.

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Robson, Andrew. "Jazz Australia." In Austral Jazz, 17–40. New York, NY : Routledge, 2019. | Series: Transnational studies in jazz: Routledge, 2019. http://dx.doi.org/10.4324/9780429455933-2.

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Henry, Clarence Bernard. "Australia, New Zealand, and Oceania." In Global Jazz, 300–342. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003154969-6.

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Clayton, Buck. "From New York to Australia." In Buck Clayton’s Jazz World, 156–72. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-08727-3_10.

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Sutton, Ray. "The Australian Jazz Museum – All That Aussie Jazz." In Preserving Popular Music Heritage, 196–206. Routledge, 2015. http://dx.doi.org/10.4324/9781315769882-17.

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Whiteoak, John. "A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’." In Popular Music, Stars and Stardom, 37–54. ANU Press, 2018. http://dx.doi.org/10.22459/pmss.06.2018.03.

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Phillips, Damon J. "The Puzzle of Geographical Disconnectedness." In Shaping Jazz. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691150888.003.0002.

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This chapter explains why it matters that jazz was produced in sixty-seven cities worldwide. That is, jazz up to 1933 was primarily recorded in a small set of cities, including Chicago, London, and New York. Focusing on the mobility networks of musicians across these cities, the chapter examines how disconnectedness can have a unique role in social systems, particularly in innovation-based social systems familiar to scholars of organizations and markets (e.g., cultural markets, technological systems). Using an empirical approach to the rise of jazz during the period 1897–1933, it explores the impact of structurally disconnected cities and the emergence of jazz standards through the discographical canon. The chapter argues that it is important to pay attention to jazz recordings from more disconnected cities such as Minneapolis (Minnesota), Hilversum (Holland), Sydney (Australia), Buenos Aires (Argentina), and Calcutta (India).
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Martin, Helen. "COSTA BOTES A JAZZ APPROACH TO FILM." In Directory of World Cinema: Australia and New Zealand 2, 266–69. Intellect Books, 2015. http://dx.doi.org/10.2307/j.ctv36xvmdt.30.

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Ashbolt, Anthony, and Glenn Mitchell. "Music, the Political Score, and Communism in Australia: 1945–1968." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0011.

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Throughout the 1940s and 1950s, and into the 1960s decade of rebellion, the Communist Party of Australia (CPA) developed significant relationships with cultural and artistic movements. The youth wing of the CPA, The Eureka Youth League (EYL), played a particularly important role in the attempt to forge an alliance between musicians and communism. First through jazz, and then through two folk music revivals, the EYL sought to use music to recruit members and to foster its ideological and political struggles. In the end, the EYL's and CPA's relationship with both jazz and folk was tenuous. Yet along the way, the music itself flourished. This, then, is a story of tensions between and paradoxes surrounding the Party and musicians sympathetic to it. Yet it is also a story about how the cultural life of Australia was greatly enriched by the EYL's attempt to use music as a political tool.
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Conference papers on the topic "Australian jazz"

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Licorish, Sherlock A., and Stephen G. MacDonell. "What Can Developers' Messages Tell Us? A Psycholinguistic Analysis of Jazz Teams' Attitudes and Behavior Patterns." In 2013 22nd Australian Software Engineering Conference (ASWEC). IEEE, 2013. http://dx.doi.org/10.1109/aswec.2013.22.

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