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Dissertations / Theses on the topic 'Composition jazz'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

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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2

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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5

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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8

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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9

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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Schuler, Laura. "Kronikor : how do I get from the first inspiration of a composition to its performance?" Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1879.

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12

Bonnefoy, Carine. "Le jazz symphonique. Harmonie et spatialité." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040216.

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Cette recherche, en lien avec mes activités de pianiste, compositrice et chef d’orchestre, porte sur l’élaboration de l’œuvre de jazz symphonique. Le jazz symphonique a représenté un hybride musical et un terrain de recherche autour de l’espace sonore de l'orchestre. Il a été à bien des égards un précurseur dans l’exploration des possibilités pour créer une musique dans laquelle les approches et les préoccupations jazz et savantes entraient dans une dialectique productive. Le geste d’écriture qu'il a privilégié intègre alors la palette instrumentale comme un révélateur fondamental des structur
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Guzman, Borrero Jose E. "Isochronal: A Suite for Jazz Orchestra." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1908.

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AN ABSTRACT OF THE THESIS OF José E. Guzmán Borrero, for the Master of Music degree in Music Theory and Composition, presented on April 8, 2016, at Southern Illinois University Carbondale. TITLE: ISOCHRONAL: A SUITE FOR JAZZ ORCHESTRA MAJOR PROFESSOR: Dr. Christopher Walczak The suite is a three movement composition for jazz orchestra in which I integrate contemporary compositional methods with the harmonic idioms of the jazz genre. The first movement, “Flight,” takes a minimalist (ca. 1970-1990) approach through the beginning of the piece, then incorporates a development section reminiscent
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14

Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.

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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written
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Anthony, John James. "Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let's Cool One”." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1348716162.

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Belck, Scott Brian. "LICKETY SPLIT: Modern Aspects of Composition and Orchestration in the Large Jazz Ensemble Compositions of Jim McNeely: An Analysis of EXTRA CREDIT, IN THE WEE SMALL HOURS OF THE MORNING, and ABSOLUTION." Cincinnati, Ohio : University of Cincinnati, 2008. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1204569102.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.<br>Advisor: Alan Siebert. Title from electronic thesis title page (viewed May 12, 2008). Includes abstract. Keywords: McNeely, Jim; jazz arranging; wright, rayburn; vanguard jazz orchestra; Thad Jones Mel Lewis jazz orchestra; jazz composition;. Includes bibliographical references.
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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
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18

Norton, Benjamin D. "Little Eichmanns: A Composition for Chamber Octet." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/18.

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An original composition in one movement for a chamber octet comprised of a string quartet and a jazz piano quartet with tenor saxophone. The work develops an idée fixe, introduced in the opening bars, through a wide variety of transformations, textures, and styles. The two quartets begin in antiphonal alteration, united in thematic material, yet separated by style. A modern art music style contrasts with an improvisational jazz style. Gradually, the two quartets, and their concomitant musics, bleed into one another, breaking down stylistic boundaries. In the conclusion of the work, the idée fi
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19

Coelho, Marcelo Pereira. "Suite I Juca Pirama : criação de um sistema composicional a partir da adequação da polirritmia de Jose Eduardo Gramani ao jazz modal de Ron Miller." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284054.

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Orientador: Antonio Rafael Carvalho dos Santos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T07:20:22Z (GMT). No. of bitstreams: 1 Coelho_MarceloPereira_D.pdf: 2413527 bytes, checksum: d1e0d6538dc1bb8270c91c73a2b19e46 (MD5) Previous issue date: 2008<br>Resumo: A presente pesquisa propõe a adequação de elementos lítero-musicais a um processo de criação musical, a partir da aplicação dos estudos polirrítmicos desenvolvidos por José Eduardo Gramani, combinado com a sistematização do jazz modal desenvolvida por Ron Miller. A
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Diniz, Alexandre Henrique de Sousa. "Ron Miller e o pensamento modal-cromático no jazz: abordagem analítica." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/14579.

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Este estudo representa uma análise do sistema harmónico modal-cromático de Ron Miller, introduzido no volume 1 do seu livro Modal jazz composition and harmony (Miller, 1996). Tem como objectivo o realce da sua utilidade e injustificada ausência na actual pedagogia do jazz. A carência de literatura dedicada ao ensino da harmonia e composição modal em jazz confere a este trabalho um destaque e importância particulares. À luz da música nele tratada, é revista a definição e categorização de Jazz Modal. O sistema é explicado sucintamente e a literatura mais relevante sobre teoria do jazz é confront
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Florin, Ludovic. "Par-delà les clivages ou l’harmonie des contraires : une approche de la musique d’Enrico Pieranunzi." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040177/document.

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Notre thèse pose essentiellement la question d’un principe de dépassement des apparentes contradictions stylistiques dans la musique du jazzman Enrico Pieranunzi (né en 1949) en établissant les stratégies élaborées en vue de ce dépassement. Cela au travers de ses multiples pratiques : au sein même de l’idiome jazz (influences) ; dans la confrontation entre les styles (jazz et musique occidentale de tradition écrite) ; enfin dans le dualisme dépassé entre improvisation et écriture.Après avoir tracé le parcours du pianiste, les processus à l’oeuvre dans sa musique sont discutés à travers trois a
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Karnebäck, Josef. "Momentum : att utmana basens roll i en ensemble." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1848.

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Fokus på basens roll i musik. Hur används instrumentet i ensemblen? Vad händer om basens roll utvecklas och hittar nya ytor i gruppen? Ett arbete om skapa musik med influenser från jazz och fusion som sätter basen i nytt ljus.<br>Focusing on the role of the bass in music. How is the instrument used in an ensemble? What happens if it develops and finds new spaces in the group? A work about creating music with influences from jazz and fusion that puts the bass in a new light.
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Sellgren, Joel. "Komposition utifrån influenser : Hur transkription av trumslagare kan influera en kompositionsprocess." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4118.

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In this project, I have used material gathered by transcribing two meaningful drummers in the history of jazz, Elvin Jones and Eric Harland, in order to create original compositions. The transcription process is discussed, as well as how I took inspiration from a few of the phrases I found interesting, and tried to create new material based on those ideas. Towards the end of this thesis, I draw the conclusion that to create new music with this method, I need external inspiration such as harmony or melody in addition to the drum part to create a composition that I’m satisfied with.
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Fargeton, Pierre. "Le jazz comme oeuvre composée : le cas d'André Hodeir." Saint-Etienne, 2006. http://www.theses.fr/2006STET2119.

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Notre thèse pose essentiellement la question de la compatibilité/incompatibilité entre l'idiome du jazz et le souci formel de composition. L'oeuvre de jazz peut-elle s'épanouir dans des formes plus complexes que celle du "thème à variations"? Y a-t-il un hiatus entre l'idée de spontanéité que l'on associe généralement au jazz (le jazzman étant en principe improvisateur) et la préméditation d'une oeuvre jusque dans ses moindres détails et prolongements, par un compositeur ? La possibilité réelle de l'existence d'une modalité spécifique de la pensée musicale qui serait l'oeuvre de jazz composée
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Petrosino, Krista L. "Some (Still) Like it Hot: Re-envisioning Transdisciplinarity and Collaboration in First Year Composition and Jazz." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339177890.

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MOLLO, MICHAEL JOHN. "FUNK-IN-THE-BOX FOR SAXOPHONE QUARTET." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115990255.

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Medbøe, Haftor. "Cultural identity and transnational heritage in contemporary jazz : a practice-based study of composition and collaboration." Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/6124.

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This study focuses on three albums of original music performed and recorded by the author as the leader of the Haftor Medbøe Group and released variously by Linn Records and Fabrikant Records between 2006 and 2010. Through the prisms of historiography, community and boundary, cultural migration, and collaboration, the thesis explores creative identity and practice as formatively and summatively applied in the realisation of the published works. The thesis employs personal reflection on the composition and performance of the published works to present an account of evolving engagement with curr
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Feijão, Pedro Cipriano 1975. "Um algoritmo de criação de improvisos com harmonia de jazz." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259104.

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Orientador: Furio Damiani<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação<br>Made available in DSpace on 2018-08-21T21:06:15Z (GMT). No. of bitstreams: 1 Feijao_PedroCipriano_M.pdf: 2409509 bytes, checksum: ef809fef536991065abf131c6a599340 (MD5) Previous issue date: 2004<br>Resumo: Um levantamento detalhado dos trabalhos em composição computacional será apresentado. Um algoritmo de composição e performance em tempo real de solos de jazz foi criado, inspirado no estilo bebop. Técnicas utilizadas por músicos de bebop durante os se
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Routenberg, Scott Kevin. "Americana Suite: A Composition for Full Orchestra, Big Band, and Jazz Chamber Ensembles Inspired by American Master Paintings." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/80.

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Americana Suite is a seven movement musical composition inspired by nineteenth and early twentieth century American master paintings. Representative artists from each of the major schools of American painting include Frederic Church, Winslow Homer, Mary Cassatt, Childe Hassam, George Bellows, Edward Hopper and Georgia O'Keeffe. Essentially pluralist in style, the suite is written for ensembles of varying size and genre, spanning from full orchestra and contemporary big band to intimate jazz chamber ensembles and electro-acoustic hybrids. Four of the seven movements are written for jazz ensem
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Laster, Andrew Jay. "AMPHION.pdf." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304705.

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Music Composition<br>D.M.A.<br>This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were co
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Laster, Andrew Jay. "ZETHOS.pdf." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304811.

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Music Composition<br>D.M.A.<br>This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were co
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Laster, Andrew Jay. "Amphion and Zethos: An Orchestral Work Reimagined as a Concerto for Five Improvisers." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304872.

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Music Composition<br>D.M.A.<br>This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were co
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CALLAHAN, DUSTIN LEE. "URBAN PORTRAITS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179519705.

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Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.

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This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aur
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López, López Mª Begoña. "En mig de gent estranya: Agusti Borgunyó i Garriga un cas de camaleonisme estilístic al país del jazz." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/461076.

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Aquesta recerca es realitza al voltant de la figura del compositor, pianista i director d’orquestra, Agustí Borgunyó i Garriga (Sabadell, 1894 - Barcelona, 1967), que va ser membre de l’Orfeó de Sabadell i de la Banda Municipal de Música de la mateixa ciutat, on també va estudiar a l’Escola de Municipal de Música, i més tard a Barcelona, amb Manuel Burgès en classes particulars. Borgunyó va desenvolupar la seva carrera professional als Estats Units, majoritàriament a Nova York i Washington, on va tenir ocasió de treballar amb figures musicals rellevants com ara Renata Tebaldi, Mario del Monaco
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Bogle, James Michael. "Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2479/.

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Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Moveme
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Nilsson, Oskar. "Komposition med hjälp av melodier : Metodiska hjälpmedel för att komponera." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3992.

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In this thesis, I have investigated how to work creatively with melodies in the process of composing music. The starting point of the project was to transcribe phrases from different solos and to be assigned with newly composed ones from musicians around me. The melodies were applied to different composing methods. The methods were there to have a way of making music of the melodies and to put them in a context. The purpose of the work was to investigate how the use of these melodies and melody-based methods were affecting my composing. How could I create new musical possibilities in my compos
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Alexander, Jan. "Turning the Odds in My Favor : Exploring Non-Isochronous Meters Through Composition and Practice." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4064.

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This thesis discloses my exploration of non-isochronous meters through composition and practice. During my two-year studies at the Royal College of Music in Stockholm, I explored different unevenly divided time signatures by practicing them in various ways, producing transcriptions, compositions and arrangements.The main purpose of this project was to further my knowledge and skills within these time signatures and thereby expand my horizon on perceiving, conceptualizing, composing and playing them. My endeavors culminated in seven original compositions, arranged for a jazz sextet, which I reh
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Lindell, Sebastian. "Lära i komposition : En fenomenologiskt inriktad självstudie." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-37896.

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I detta självständiga arbete utforskar jag, utifrån hermeneutiskt inriktad fenomenologi, mina processer i samband med komponerande och arrangerande för en septett bestående av elgitarr, elbas, trumset och fyra blåsare. Under två terminer förde jag loggbok över de olika moment där jag arbetade med denna kreativa process, moment som bestod av komponerande, lektioner med lärare samt repetition med ensemblen. Resultatet redovisas med hjälp av tematiseringarna Sökande efter ett kompositoriskt flöde, Frön som gror och växer samt Känslan av att hitta nya vägar. Dessa teman ställs i diskussionskapitle
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Erika, Hammarberg. "Sökandet efter en linje, oregelbundenhet och något : En studie av personlig utveckling inom kompositionsprocessen." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3979.

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Denna uppsats har formen av en essä. Syftet var att inom kompositionsprocessen synliggöra och studera viktiga parametrar och utvecklingsområden, samt jämföra resultatet mellan avsikten, slutresultatet av kompositionen och det som hände där emellan. Kompositionerna som har legat till grund för arbetet är två stycken för storband och ett stycke för tenorsaxofon och kammarensemble. Styckena och den kreativa processen analyseras utifrån ett personligt kompositionsperspektiv och resultatet visar att det genom målmedvetet arbete är möjligt att utveckla sin teknik och speciella bestå
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Rays, Luís Gustavo Carvalho Alonso. "A trajetória musical do compositor brasileiro Djalma de Andrade = Bola Sete." [s.n.], 2018. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283940.

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Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T05:54:38Z (GMT). No. of bitstreams: 1 Rays_LuisGustavoCarvalhoAlonso_M.pdf: 2693608 bytes, checksum: 167ef33239dc3914202a9968eab2e195 (MD5) Previous issue date: 2018-08-17T02:54:23Z<br>Resumo: Este trabalho apresenta e analisa os elementos musicais pertencentes aos diferentes estilos e gêneros que caracterizam a obra do compositor e músico brasileiro Djalma de Andrade, mais conhecido nos meios musicais como "Bola Sete", evidenciado
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Carsalade, Pierre. "Paris transatlantique : les débuts de free jazz en france, des années 1960 aux années 1970 : essai d'analyse anthropologique de relations musicales transatlantiques." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0451.

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Cette thèse est une étude anthropologique et historique de la reformulation du free jazz en france dans les années 60 et 70, à un moment où les musiciens européens s'émancipent de leur position épigonale vis-à-vis du jazz américain pour créer de l'identité musicale locale. Une première problèmatique de recherche concerne l'analyse anthropologique des logiques d'altérité portées par la pratique jazzistique. Car si le jazz participe pleinement de notre modernité occidentale, il configure également à ses marges un modèle culturel alternatif à l'influence durable - un véritable autre dans le même.
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Horton, Brian (Saxophonist). "Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011761/.

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This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non-diegetic tone parallel that musically narrates several authentic characteristics of African-American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz
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ROONEY, KIMBERLY DIANNE. "Compositional Trends in Solo Horn Works Composed by Horn Performers (1970-2005): A Survey and Catalog." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218545699.

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Ringe, Gerald. "The Historical Importance and Resulting Arrangement of Artie Shaw's Third Stream Composition Interlude in B-flat." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862739/.

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Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experi
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Siukola, Jennifer. "Seven original compositions for jazz combo." Thesis, Ball State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3745688.

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<p> &ldquo;Seven Original Compositions for Jazz Combo&rdquo; is a project inspired by the compositional and improvisational work of seven famous jazz trumpeters. These diverse players include Tom Harrell, Roy Hargrove, Kenny Dorham, Chet Baker, Lee Morgan, Miles Davis, and Scott Wendholt. Each musician influenced my compositions in various ways; I imitated the harmonic language of Tom Harrell and Kenny Dorham in my compositions &ldquo;Lighthouse Reverie&rdquo; and &ldquo;Bog Walking&rdquo; respectively, and the lyricism of Chet Baker in &ldquo;I Kissed You Goodbye.&rdquo; Roy Hargrove&rsquo;s
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Van, der Hoven Wikus. "Invictus : Orchestral Prelude in 3 movements by Noel Stockton : analytical discussion of the synthesis of the basic elements of music in a third stream composition." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23621.

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This study aims to describe how the basic elements of music are synthesised and manipulated to create a composition in the musical style called Third stream music. This is done through a comprehensive description of the background of this musical style and a detailed analysis of a case study Third stream work, Invictus: Orchestral Prelude in 3 Movements, by the South African composer Noel Stockton and commissioned by the South African Music Rights rganisation. Copyright<br>Dissertation (MMus)--University of Pretoria, 2010.<br>Music<br>unrestricted
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Smith, Andy. "Pat Metheny: Composing to Exploit the Sound of the Guitar : a thesis submitted to the New Zealand School of Music [in partial fulfilment of the requirements for the degree of Master of Music]." New Zealand School of Music, 2007. http://hdl.handle.net/10179/1113.

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The study's objective is to relate the development of Pat Metheny's stylistic characteristics from his interpretation of jazz standards to their incorporation into his own compositions. Stylistic elements are established and a sample of his compositions are analysed to compare his solo style in standards with his compositional style. Metheny is a recognised innovator in technique and uses a wide range of instruments in the guitar family, both traditional and radically new. The use of such instruments frees Metheny from some restrictions and the possibility that this freedom is a major influenc
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Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophon
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50

Dovel, Jason. "The influence of jazz on the solo trumpet compositions of Eugène Bozza." Recital, recorded Apr. 17, 2006, in digital collections. Access restricted to the University of North Texas campus. Recital, recorded Oct. 16, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5186.

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Thesis (D.M.A.)--University of North Texas, 2007.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 17, 2006, Oct. 16, 2006, Feb. 26, 2007, and Oct. 22, 2007. Includes bibliographical references (p. 56-58).
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