Relevant bibliographies by topics / Composition jazz

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

Academic literature on the topic 'Composition jazz'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Composition jazz"

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Salley, Keith. "Ordered Step Motives in Jazz Standards." Journal of Jazz Studies 8, no. 2 (2013): 114. http://dx.doi.org/10.14713/jjs.v8i2.42.

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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 relationshi
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Arestov, Sergey S. "Jazz composition in the modern educational process." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 140–44. http://dx.doi.org/10.30725/2619-0303-2021-1-140-144.

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The teaching system is periodically updated and improved. The article outlines the perspective of using jazz composition in the system of musical education. Its expediency is emphasized, and its conditionality is shown by several interacting factors that contribute to the formation of professional skills of a musician-performer and teacher. In addition, the characteristic features that distinguish it from other musical disciplines are identified. At the same time, jazz composition as a technique for creating works is the basis for the formation and development of a musical style that involves
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Day, Jonathan. "Jazz, Kant and Zen." Culture and Dialogue 4, no. 2 (2016): 301–16. http://dx.doi.org/10.1163/24683949-12340017.

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Transgression and experimentation are at the heart of the musical composition with which this work begins. The compositional approaches employed developed from a consideration of Kant’s Critique of Judgement (1790) which offers a compelling explanation for the apparently bizarre “claim to objectivity” commonly made in judgements of taste. Kant’s final conclusion around the source of the claim is, for me, disappointing. This current work re-examines and extends his argument through an elision with Zen writing, and offers an alternate account. It is posited that the “claim to objectivity” operat
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Porter, Lewis. "John Coltrane's "A Love Supreme": Jazz Improvisation as Composition." Journal of the American Musicological Society 38, no. 3 (1985): 593–621. http://dx.doi.org/10.1525/jams.1985.38.3.03a00060.

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Porter, Lewis. "John Coltrane's "A Love Supreme": Jazz Improvisation as Composition." Journal of the American Musicological Society 38, no. 3 (1985): 593–621. http://dx.doi.org/10.2307/831480.

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Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.

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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand –
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Kim, Sook-He. "The Musical Composition of African American Narrative : Toni Morrison’s Jazz." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 69 (February 28, 2018): 125–40. http://dx.doi.org/10.21087/nsell.2018.02.69.125.

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Cosper, David. "The sonic camera: Intermodality and intermediality in contemporary jazz composition." Jazz Research Journal 7, no. 2 (2015): 203–37. http://dx.doi.org/10.1558/jazz.v7i2.19899.

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Firdaus, Ade Surya, Hendra Santosa, and Ni Wayan Ardini. "I Gusti Anglurah Panji Sakti: Sebuah Interpretasi dalam Musik Jazz." Gondang: Jurnal Seni dan Budaya 3, no. 2 (2019): 86. http://dx.doi.org/10.24114/gondang.v3i2.13843.

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Interpretation of I Gusti Anglurah Panji Sakti is a title of musical composition that interprets or reinterprets the figure of King Panji Sakti who has smart characters, courageous, sympathetic, accommodating, and always close to his subordinates and thick with the Patriotism nature of anti-hegemony, anti-imperialism and anti monopoly in a jazz composition. In the process of its creation, it was motivated by an interest in the figure of Panji Sakti as a King who deserved to be a role model, because of his nationalist and patriotic character which according to the composer was very good in buil
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Leonard, Neil. "Aesthetic considerations for the composition and performance of computer‐based jazz." Journal of the Acoustical Society of America 102, no. 5 (1997): 3181. http://dx.doi.org/10.1121/1.420842.

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Dissertations / Theses on the topic "Composition jazz"

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Rudnick, Isidore L. "Explorations: a Composition for Eighteen-Piece Jazz Ensemble." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500898/.

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Explorations is a three-movement experimental work for eighteen-piece jazz ensemble consisting of the following instruments: soprano saxophone, alto saxophone, two tenor saxophones, baritone saxophone, two trumpets, two flugelhorns, three trombones, bass trombone, electric guitar, vibraphone, contrabass, drums and piano. The duration of the work will approximate twelve minutes. The first movement features geometric configurations of spatially notated sound which emphasize percussive qualities of the ensemble (i.e. key clicks, tongue slaps, mouthpiece pops, etc.). Tone clusters of various pitch
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Ashlock, Clint Rudy Paul. "Amber canvas a composition for jazz orchestra /." Diss., UMK access, 2006.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006.<br>"A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
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Byron, Jay M. "Jazz band arranging : original big band arrangements." FIU Digital Commons, 1999. http://digitalcommons.fiu.edu/etd/1950.

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This paper examines five big band arrangements written during a period of two semesters from 1998-1999. I will provide an overview and performance considerations for each arrangement. Each arrangement uses common conventions such as unison lines, octave doubling, four and five part voicings, found in closed, semi-open, and open position. Approach techniques include diatonic, dominant, diminished, chromatic, and parallel. Choice was based primarily on two considerations: desired texture and the best voice leading options identified to provide each part with a swinging line and maintain melodic
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Chen, Daniel. "Computer improvisation of jazz solos /." Online version of thesis, 1992. http://hdl.handle.net/1850/11088.

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

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The purpose of this thesis is to examine the cross-cultural fusion of jazz harmony and Afro Caribbean rhythms. These six compositions were chosen for the composers Master's recital to demonstrate how his writing technique was influenced by his cultural and musical experience during his years of study and performance in the United States and abroad. The instrumentation was chosen to exemplify the fusion of the traditional percussive sounds of Latin music with jazz harmony, melody and improvisation. It is important to note that even though one of the compositions, E.T., is not written in a Latin
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Ormsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.

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This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through t
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Harvey, Stephen P. "Jazz Chamber Music: An Analysis of Chris Potter’s Imaginary Cities and a Musical Composition." Youngstown State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1471354255.

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Strazzullo, Guy. "An intercultural approach to composition and improvisation /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051013.095017/index.html.

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Mayall, Jeremy Mark. "Composition Portfolio." The University of Waikato, 2006. http://hdl.handle.net/10289/2398.

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The works in this portfolio of original compositions cover a wide spectrum of genres, styles, approaches, and musical techniques. The aim was to demonstrate mastery of the various musical languages and techniques characteristic of each genre. The calculatedly low-fi 'alt.rock meets computer games' approach of the concept album They No Longer Sleep Alone is of folk-like simplicity, deliberately eschewing the various polishing processes available to producers now in the digital mastering situation. The intention was to preserve a naturalness of sound and song making. On the other hand, live elec
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Chirwa, Kabelo Ufulu. "Encumbered Existence| A Three Movement Work for Jazz Orchestra." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10279545.

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<p>Encumbered Existence is a three-movement programmatic work for jazz orchestra that uses specific events in African-American history to capture the struggle of African- Americans and emotions provoked by these events. The first movement, ?The State of the World,? and last movement, ?Between the World and Me,? capture painful events such as the shooting of Trayvon Martin. ?Between the World and Me? uses the dates of Martin?s birth and death as set classes to guide the piece. The second movement, ?The Dream,? portrays a hopeful attitude and is inspired by Dr. Martin Luther King Jr. and the ?I
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Books on the topic "Composition jazz"

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Ron, Miller. Modal jazz composition & harmony. Advance Music, 1992.

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

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White, Andrew Nathaniel. A treatise on jazz composition. Andrew's Music, 1985.

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Coker, Jerry. Guide to jazz composition and arranging. Advance Music, 1998.

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1966-, Tanka Fonta Emmanuel. Ceremonious elation: Composition for jazz quintet. CWJEF Music Publications, 2003.

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England, Trevor Alan. Jazz composition: Commentaries with accompanying scores and tape. The Author), 1995.

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

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1966-, Tanka Fonta Emmanuel. Portrait of Tchicaya U'Tamsi: Composition for jazz quartet. CWJEF Music Publications, 2003.

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

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1966-, Tanka Fonta Emmanuel. Sonnet for Lizzie: Poetry & colors : composition for jazz septet. CWJEF Music Publications, 2003.

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Book chapters on the topic "Composition jazz"

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Schuiling, Floris. "The Ontology of Instant Composition." In The Instant Composers Pool and Improvisation Beyond Jazz. Routledge, 2018. http://dx.doi.org/10.4324/9781351254380-5.

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Nam, Yong-Wook, and Yong-Hyuk Kim. "Automatic Jazz Melody Composition Through a Learning-Based Genetic Algorithm." In Computational Intelligence in Music, Sound, Art and Design. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16667-0_15.

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Barzel, Tamar. "The Praxis of Composition-Improvisation and the Poetics of Creative Kinship." In Jazz/Not Jazz. University of California Press, 2012. http://dx.doi.org/10.1525/california/9780520271036.003.0009.

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"8. The Praxis of Composition- Improvisation and the Poetics of Creative Kinship." In Jazz/Not Jazz. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951358-011.

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Waters, Keith. "Chick Corea." In Postbop Jazz in the 1960s. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190604578.003.0004.

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Chick Corea’s prolific compositional career began in the 1960s, even if he likely went on to greater acclaim in the 1970s with compositions such as “La Fiesta” and “Crystal Silence.” “Windows” (Inner Space) uses ascending perfect fifth progressions as a large-scale harmonic frame for the composition, although harmonic substitutions expand that frame, and the skeletal melody (often appearing on metrical downbeats) creates longer underlying lines. A comparison of the recording with Corea’s copyright deposit shows a degree of evolution in the composition, particularly through harmonic inversions and stepwise bass motion. “Inner Space” (Inner Space) uses a melodic major third axis progression (in the introduction and later in the composition), but particular harmonic substitutions suggest a second-order grammar in which the progressions do not shadow the melodic axis. As with many Corea compositions from the 1960s, a centrifugal harmonic progression closes with an expanded harmonic turnaround to return to the m. 1 harmony. Three versions of “Song of the Wind” (Complete “Is” Sessions, Joe Farrell Quartet, Piano Improvisations vol. 1) illustrate Corea’s move to a more complex harmonic language, using polychords and expanded pedal points. Despite stark differences between the more progressive harmonic language of “Song of the Wind” and his earlier “Windows,” a comparison of the melodic designs of both jazz waltzes indicates some overall structural similarities.
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Weiser, Nick. "Teaching Jazz Standards." In Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0022.

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The issue of teaching jazz standards is fraught with questions. What are “standards?” What makes a composition a standard? Why do jazz musicians use them as vehicles for improvisation? How are greater standards distinguished from lesser standards? How does one select particular standards to suit the needs of students? This chapter provides strategies for learning and internalizing the core jazz repertoire. It provides historical context to the development and evolution of the jazz standard canon, looking to the songbook folios of the great American tunesmiths and to original and seminal recordings as sources for the study of this music. Emphasis is given to the practical issues of selecting age- and skill-level-appropriate tunes; memorizing melodies, chord progressions, and lyrics (as applicable) in multiple keys; and devising improvisational exercises specific to individual compositions.
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Grace, Michael. "High School Improvisation." In Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0012.

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What is the essence of jazz improvisation? Performing jazz musicians will answer in many ways, but there is one guiding principle, which is widely accepted, especially when teaching beginners: express the tonality of the piece. Tonality includes the basic key, and any other keys in the composition, and the chords within those keys, which need to be addressed in a recognizably tonal fashion. The active process of improvisation is tonicization. To tonicize a piece with improvisation is to play closely related scale tones, chord tones, and melodic and harmonic structures which amplify those chord progressions and express the form of the composition. This chapter outlines a sequential process whereby jazz teachers can provide students with the tools to successfully express the tonality of compositions that use II min7 → V<sup>7</sup> → I Maj7 (II-7 V<sup>7</sup> I∆7) chord changes and their alterations with major, minor, dominant, bebop scales and chord tones. Exercises for learning these scales and chord tones are presented, as well as a step-by-step process for showing students how to apply those scales, chord tones, and bebop permutations appropriately to II-7 V<sup>7</sup> I∆7 chord progressions and 12-bar blues progressions with increasing levels of sophistication.
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Waters, Keith. "Postbop." In Postbop Jazz in the 1960s. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190604578.003.0001.

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Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, in the areas of harmony, form, melody, and cadence. Postbop composers abandoned or muted many techniques of tonal jazz, the jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms, often with tonal cadences at the ends of constituent 8-bar sections), and tonal harmonic progressions. Attributes of postbop compositions rely on a series of family resemblances that include axis progressions (harmonic, melodic, or bass sequences by a single interval, such as major third or minor third); absence or suppression of functional harmonic progressions; common structure progressions; bass pedal points beneath shifting harmonies; and harmonic rhythm with chord changes every half-measure, measure, or every two measures. The last feature distinguishes postbop jazz from that of so-called modal jazz, which relies on a slower harmonic rhythm. One of the significant precedents for postbop jazz is to be found in John Coltrane’s 1959 composition “Giant Steps,” which provided potent alternatives to more conventional tonal designs.
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Studnitzky, Sebastian. "Real Time Composition & Recording Ensemble." In Jazz/Rock/Pop - Das Dresdner Modell. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://dx.doi.org/10.5771/9783828874589-129.

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Stewart, Alex. "New Directions in Jazz Composition: Three Portraits." In Making the SceneContemporary New York City Big Band Jazz. University of California Press, 2007. http://dx.doi.org/10.1525/california/9780520249530.003.0007.

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Conference papers on the topic "Composition jazz"

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Pavlick, Ellie, and Marius Pasca. "Identifying 1950s American Jazz Musicians: Fine-Grained IsA Extraction via Modifier Composition." In Proceedings of the 55th Annual Meeting of the Association for Computational Linguistics (Volume 1: Long Papers). Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/p17-1192.

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Journal articles Dissertations / Theses Books
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