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Relevant bibliographies by topics / Duke Ellington / Dissertations / Theses

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Dissertations / Theses on the topic 'Duke Ellington'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2025

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Consult the top 21 dissertations / theses for your research on the topic 'Duke Ellington.'

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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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11

Taylor, Graham. "Blutopia : visions of the future and revisions of the past in the works of Sun Ra Duke Ellington and Anthony Braxton." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363690.

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12

Burrows, George. "Listening to the spectre of ideology in jazz : a consideration of the composer-bandleader as a musical figure of critique during the interwar years of the 20th century with particular reference to Reginald Foresythe, Lil Hardin Armstrong, Raymond Scott and Duke Ellington." Thesis, University of Newcastle upon Tyne, 2011. http://eprints.port.ac.uk/2843/.

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This thesis treats the composer-bandleader as a novel critical concept that illuminates the subtly complex relationship between musical culture, ideology and subjectivity during the interwar years of the twentieth century. Four case studies, based upon the work of Reginald Foresythe, Lil Hardin Armstrong, Raymond Scott and Duke Ellington, paint a picture of the composer-bandleader as a usefully discursive figure occupying a special position between, around or about the categories of genre and role that arose with music’s commodification. From this unique location composer-bandleaders are shown

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13

Chavez, Angela M. "A costume design for Duke Ellington's Sophisticated ladies." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1445.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2004.<br>Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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14

Lee, Yi-Hui. "A theatrical lighting design for Duke Ellington's sophisticated ladies." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/98.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2003.<br>Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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15

Marchbanks, Jack R. "Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil RightsMovement, 1955-1965." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1522929258105629.

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16

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

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Appendix A includes annotated transcriptions of trumpet solos as performed by Williams, Stewart, and Nance on RCA Victor recordings of the Duke Ellington Band, 1940-1942. Includes bibliographic references (p. 71-73).

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17

McManus, Laurie García David F. "The kangaroo and the didjeridu Duke Ellington's engagement with world music in the Afro-Eurasian eclipse /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,210.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.<br>Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfullment of the requirements for the degree of Master of Arts in the Department of Music. Chapel Hill 2006." Discipline: Music; Department/School: Music.

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18

Marshall-Amundsen, Peggy C. "A set design for the production of Duke Ellington's Sophisticated ladies as presented by the Department of Theatre at the Clarice Smith Performing Arts Center, University of Maryland, College Park." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/111.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2003.<br>Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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19

"Concert as Catalyst: Duke Ellington’s Sacred Concert and Its Lasting Impact in Phoenix, Arizona." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44041.

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abstract: A poster advertising two 1966 performances of Duke Ellington’s First Sacred Concert at Trinity Cathedral catalyzed research into several storylines that stem from the jazz great’s time in Phoenix, Arizona. Ellington’s arrival on the weekend of November 10th, 1966, was surrounded by controversy within Trinity Cathedral, the Diocese of Arizona, and the diocesan relationship to the national Episcopal Church. Because Phoenix had recently passed civil rights legislation, race relations remained on unstable footing when Ellington’s sacred jazz music—performed by Ellington’s black band memb

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20

Sailors, Michael Dylan. "Manhattan by midnight : a suite for jazz orchestra in three movements." Thesis, 2013. http://hdl.handle.net/2152/26845.

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Manhattan by Midnight is a three-movement work for jazz orchestra scored for woodwinds, brass and jazz rhythm section. The intent is to compose a work that reflects and emphasizes two musical elements that set jazz apart from every other genre: the swung eighth note and its distinctive, idiomatic use of extended diatonic and chromatic harmony. Combining these two musical elements with my own ever-evolving composition style will culminate in a work that explores and expands upon the typical conventions of jazz melody, jazz harmony and jazz rhythm to create a piece that is a sum of my influences

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21

Gutkin, David. "American Opera, Jazz, and Historical Consciousness, 1924-1994." Thesis, 2015. https://doi.org/10.7916/D81835SM.

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From the 1970s through the early 1990s numerous critics commented on an apparent “rebirth” of American opera. Subsequent scholarship has increasingly sanctioned a consensus view holding up Philip Glass and John Adams as the central figures in this opera resurgence. Although I do not dispute the importance of (post-)minimalism in these decades, my gambit in this dissertation is to reframe the idea of a late twentieth-century operatic renaissance by tracing a long relationship between jazz and the concept of American opera. The jazz genealogy of American opera that I develop in this study is int

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