Relevant bibliographies by topics / Duke Ellington

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  1. Dissertations / Theses

Academic literature on the topic 'Duke Ellington'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2025

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Dissertations / Theses on the topic "Duke Ellington"

1

Tucker, Stephen Earl. "Edward Kennedy "Duke" Ellington's ballet, the river a conductor's approach to the preparation and performance of the score /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1324374211&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

Milner, John David. "Ellingtonia : the reciprocal and symbiotic relationship between Duke Ellington and his musicians." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/15076/.

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3

Steed, Janna T. "Duke Ellington's jazz testament the sacred concerts /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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4

Olivesi, Leïla. "L'œuvre de Duke Ellington : une création en mouvement, le concert comme œuvre d'art : étude du processus de création dans l'orchestre d'Ellington du studio au concert, appliquée aux métamorphoses de « Mood Indigo » en studio et à l'introduction de « Black and Tan Fantasy » en concert." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL115.pdf.

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L'œuvre de Edward “Duke” Ellington est à la fois exceptionnelle et emblématique, constituée de plusieurs milliers de compositions, interprétées par un orchestre à la longévité unique dans de l'histoire du jazz au XXe siècle. À la fois chef d'orchestre, pianiste et compositeur, Ellington a repris et réarrangé tout au long de sa carrière certaines de ses pièces, créant des versions parfois très différentes de leur premier enregistrement.Ces multiples créations d'une même composition remettent en cause la notion même d'œuvre musicale en jazz, différente de celle qui est admise habituellement dans
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5

Strand, Michael. "Duke Ellington's Second Sacred Concert. : En verkstudie." Thesis, Växjö University, Växjö University, School of Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-6039.

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6

Bennett, Bryan Wendell. "Cootie Williams, Rex Stewart, and Ray Nance: Duke Ellington's trumpet soloists 1940-1942." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/337.

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7

Reed, Thomas T. "Jimmy Hamilton and Russell Procope : the clarinet soloists of the Duke Ellington Orchestra, 1943-1974." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273146438.

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8

Strother, Eric Scott. "The development of Duke Ellington's compositional style a comparative analysis of three selected works /." Lexington, Ky. : [University of Kentucky Libraries], 2001. http://lib.uky.edu/ETD/ukymuth2001t00012/thesistext.pdf.

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Thesis (M.A.)--University of Kentucky, 2001.<br>Title from document title page. Document formatted into pages; contains viii, 69 p. : ill. Includes abstract. Includes bibliographical references (p. 67-68).
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9

Strother, Eric S. "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS." UKnowledge, 2001. http://uknowledge.uky.edu/gradschool_theses/381.

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Edward Kennedy Duke Ellingtons compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared.
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10

Clark, Lisa M. "Synchrony of the Sublime: A Performer's Guide to Duke Ellington's Wordless Melodies for Soprano." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/87.

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This monograph provides an in-depth examination of the background, musical, and performance issues related to Duke Ellington’s wordless melodies, as well as epigrammatic biographies of Ellington and three female vocalists whose voices he employed as instruments: Adelaide Hall, Kay Davis, and Alice Babs. As early as the twenties, Ellington innovatively used the voice as a wordless instrumental color—an idea he extended into both his secular and sacred works. His iconoclastic instrumentalization of the soprano voice in compositions such as “Creole Love Call”, “Minnehaha”, “Transblucency”, “On a
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