Academic literature on the topic 'Guitar music (Jazz)'

Details of developing jazz guitar reharmonization learning book using Malay Asli song will not discuss here, however, this article divulges pragmatism approach that can be transcending in explaining logic between learning jazz guitar reharmonization techniques using Malay Asli Song. Although music is a universal language, traditional music and western music educators do not come to an agreement diffusing learning western music elements such in traditional music or vice versa. As a result, reharmonization technique only become known on western music repertoires. While traditional music practitioners presenting the same old repertoires, with deep-rooted dogmatic excuses to maintain what they called traditional authentic values. To conduct this study, relevant data on pragmatism was done through document analysis. The result show pragmatism approach can help music educators to reconceptualize teaching and learning traditional music using jazz reharmonization technique to recreate and innovate a new sound and contextual of learning jazz harmony, not just using on jazz standards repertoires, in making music theory beneficial to both traditional and modern music educators and students.

This article proposes a pragmatism approach useful in explaining the logic of learning jazz guitar reharmonization techniques. Music and practices are both unseparated and unified in the field of music education. This poses challenges for traditional and western music consolidation because reharmonization technique is only known in western music repertoires while traditional music normally utilizes old-style repertoires. Some practitioners rooted in dogmatic thinking still maintain authenticity and traditions. In this study, our data is gathered using qualitative content analysis. We then identified similarity of pragmatism principles along with the interpretation of jazz reharmonization techniques. We suggest that pragmatism approach is a useful pathway for music educators to reconceptualize teaching and learning of traditional music using jazz reharmonization technique and then, recreate and innovate a new sound and context of learning jazz harmony rather than using jazz standards repertoires.

The influence of subculture is characteristic for academic works of the 20th century, including those written for a six-string guitar and compositions with a guitar part. Many authors have recognized the instrument as an attribute of mass culture since the Middle Ages. Democracy as a historical property of the guitar leaves its mark on academic music that addresses it. Having never been a part of orchestras before, guitar becomes a permanent and almost the main member of the jazz ensemble. The paper discusses the diversity of embodiment of the features of mass culture in academic Russian guitar works of the 20th century. Melodic and harmonic features of the proletarian song are introduced by composers of the Soviet period (Asafyev, Shebalin, Retchmensky, Kamaldinov) into guitar opuses. The author shows that the instrument is perceived by composers of the second half of the century as a phenomenon of mass culture, and therefore the introducing of guitar into the score entails the use of means from its arsenal — melodic-harmonic, rhythmic, textured, compositional. The specifics of the film industry express themselves in the introduction of a part of the soundtrack into the work, the use of montage techniques. The study revealed that the influence of pop music and jazz styles manifests itself in pieces for the guitar solo by composers of the second half of the 20th century, whose style is formed on the basis of performance (Vinitsky, Rudnev, Koshkin, Kozlov).

The capability of big data technology in online data management has made virtual learning a highly popular trend nowadays. However, vast information density makes young users lose focus in mastering one particular learning unit. This situation opens up opportunities for researchers to re-evaluate music instrument learning methods. This study aims to develop a framework for bite-sized learning of basic jazz guitar reharmonization techniques. The research methodology involves a mixed-methods design of Design and Development Research (DDR) and experimental case study. The three phases of the research include analysing the needs of jazz guitar reharmonization techniques, developing a bite-sized learning framework, and validating the conceptual framework. The results of this study will be useful for online learners of all ages who want to learn jazz guitar harmony without enrolling in formal institutions. The developed method could also potentially be commercialized as an online application for bite-sized learning and adopted as a part of heutagogy approaches.

This communication deals with the analysis of an improvisation by guitarist Nelson Faria in the song Incompatibilidade de Gênios by João Bosco and Aldir Blanc recorded on the album Nelson Faria & Frankfurt Radio Bigband – Live In Frankfurt. Before, we will present a brief historical context of the electric guitar problem in Brazil followed by a biographical synthesis of Nelson, later we will make the harmonic and melodic analysis, followed by an analysis using the theory of topics applied to popular music, seeking to identify aspects that point to a friction of musicalities present in Brazilian instrumental music or Brazilian jazz and contribute to the debate of musicology in the area. The present work is part of a larger research at master's level with incipient results.

The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the historical development of national musical culture in today's extremely topical issue in the context of scientific understanding, particularly by disclosing distinctive features of the national musical performance and in particular instrument. Currently growing interest in issues of history, theory and techniques of instrumental performance has been considered, and study of the evolution of performance traditions due to the diversity of the world's musical instruments has been conducted.The XX century has started a process of recognition of the guitar as a professional instrument and it has integrated into the system of specialized music education. As a result of significantly increased quality guitar performance is becoming more popular palette of guitar music; multidisciplinary academic chamber and instrumental direction began to be classical and jazz guitar techniques.Principles and methods of forming performance skills that have been elaborated by practice of Ukrainian and foreign guitarists can be used for further development of musical training and education of talented youth.

The purpose of this research is to identify the specificity of pop and jazz stylistics as one of the characteristic trends of modern accordion art, using the analysis of the composition „Hommage a Paco” by Frank Angelis. The methods of the proposed scientific article are based on the use of research approaches (genre, style, textual, analytical), which allow to identify the specific embodiment of trends in the current stage of the development of accordion art in the modern repertoire. Scientific novelty. Despite its widespread use in practice, Frank Angelis’s composing work has not been subject to scientific understanding; in particular, his work has not been analyzed in detail in contemporary Ukraine. Conclusions. As a result of the analysis of Frank Angelis’s „Hommage a Pacco”, it was founded that the specificity of the formation is coordinated by the principle of double-frequency (the first part has an expositional character, the second – jazz-improvisational); the individuality and expressiveness of the aesthetics of the theme are determined by the dances of the famous Spanish virtuoso guitarist Paco de Lucia (Allegres, Bulires and Tangos), which underlie the work. The specificity of the harmonic plan is mainly based on alternate septaccords and noncords, and the thematicism is modified by texturing. The dedication to the creator of the „new flamenco” style is reflected in a diverse palette of playing tools, most of which mimic the specificity of guitar techniques (so the specific accordion tremolo gives the music material an expressive, precise, more sonorous sound – the color of the flamenco, and creates an invoice-like texture). Also in the melodic line are reflected specific guitar techniques, including „long picado”, „rasgeado”, „alsapua”. A peculiar feature of the composer’s style is the use of jazz elements such as: „quasi-improvisation”, „mini-solo”. Combining music from different directions, F. Angelis created the unique composition, giving it the characteristic features of Spanish flamenco and jazz music.

The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.

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 saxophone and drums.

Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-06T11:45:47Z (GMT). No. of bitstreams: 1 Mangueira_BrunoRosas_M.pdf: 1094068 bytes, checksum: bd77c8129c048a3adc829705f40d9b87 (MD5) Previous issue date: 2006<br>Resumo: No período compreendido entre o final da década de 1960 e estes primeiros anos do século XXI, configurou-se, na produção fonográfica brasileira, um gênero de música instrumental com características próprias, em que a cultura do país é permeada pela estética do jazz norte-americano, sendo esperado do músico executante um elevado nível de proficiência e domínio das técnicas de improvisação. O presente trabalho concentra-se na obra de um dos protagonistas desse cenário, o guitarrista e violonista Hélio Delmiro, buscando examinar alguns dos elementos de inventividade musical constituintes de seu estilo, o que, acredita-se, poderá vir a contribuir para uma sistematização da aplicabilidade de tais recursos nesse tipo de arte, com ênfase nos instrumentos de sua especialidade. Para tanto, partindo-se do material resultante da pesquisa de iniciação científica O estilo de improvisação de Hélio Delmiro, foi feita uma comparação contextualizada de aspectos formais e estruturais presentes em sua obra gravada, seja por meio de composições, improvisos ou (re)harmonizações, com procedimentos já sistematizados por estudiosos da música popular. Essa observação demonstrou que Delmiro sintetiza suas influências estilísticas de maneira peculiar e consistente, sendo um importante personagem no processo de consolidação da linguagem da ¿música instrumental brasileira¿, e assumindo uma posição referencial com relação ao papel do violão e da guitarra nesse contexto<br>Abstract: During the period of time between the late sixties and the first years of the 21st century, the Brazilian phonographic production witnessed the configuration of a genre of instrumental music that proved to have its own characteristics; while containing the Brazilian culture, it is nevertheless permeated by the aesthetics of American Jazz, creating an expectation towards the performing artists of an elevated level of proficiency and the mastering of Jazz improvisational techniques. The genre is called here the ¿Brazilian Contemporary Instrumental Music¿. This paper concentrates on the work of one of the most important protagonists of this genre, the guitarist Hélio Delmiro. We seek to examine some of the elements of Delmiro¿s musical creativity and style, hoping this work will contribute to create a systematization and develop means to its applicability, with an emphasis on Delmiro¿s specialty. In order to realize this research, we departed from the findings of a previous one, developed during our undergraduate years, called ¿Hélio Delmiro¿s Improvisational Style¿. This paper presents a contextualized comparison of structural and formal aspects of Delmiro¿s recorded work, which includes compositions, improvisations, and reharmonizations. Those aspects have been previously systematized by scholars interested in ¿popular music¿, we applied some of those to the study of Delmiro¿s music. The realization that Delmiro makes use of different sources of material to develop his music demonstrated that he synthesizes his stylistic influences in a personal and consistent way, thereby becoming a very important protagonist regarding the process of consolidation of the ¿language¿ of the Brazilian Contemporary Instrumental Music, taking a very important position as a reference on the role and importance of the guitar in that context<br>Mestrado<br>Mestre em Música

Computational modelling of expressive music performance deals with the analysis and characterization of performance deviations from the score that a musician may introduce when playing a piece in order to add expression. Most of the work in expressive performance analysis has focused on expressive duration and energy transformations, and has been mainly conducted in the context of classical piano music. However, relatively little work has been dedicated to study expression in popular music where expressive performance involves other kinds of transformations. For instance in jazz music, ornamentation is an important part of expressive performance but is seldom indicated in the score, i.e. it is up to the interpreter to decide how to ornament a piece based on the melodic, harmonic and rhythmic contexts, as well as on his/her musical background. In this dissertation we present an investigation in the computational modelling of expressive music performance in jazz music, using the guitar as a case study. High-level features are extracted from the scores, and performance data is obtained from the corresponding audio recordings from which a set of performance actions are obtained semi automatically (including timing/energy deviations, and ornamentations). After each note is characterized by its musical context description, several machine learning techniques are explored to, on one hand, induce regression models for timing, onset and dynamics transformations, and classification models for ornamentation to render expressive performances of new pieces, and, on the other hand, learn expressive performance rules to analyse its musical meaning. Finally. we report on the relative importance of the considered features, quantitatively evaluate the accuracy of the induced models, and discuss some of the learnt expressive performance rules. Moreover, we present different approaches for semi-automatic data extraction-analysis, as well as, some applications in other research fields. The findings, methods, data extracted, and libraries developed for this work are a contribution to expressive music performance field, as well to other related fields.<br>El modelado computacional de la expresividad en la interpretación musical trata sobre el análisis y la caracterización de las desviaciones que, con respecto a la partitura, los músicos introducen cuando interpretan una pieza musical para añadir expresividad. La mayoría del trabajo en análisis de la expresividad musical hace énfasis en la manipulación de la duración y el volumen de las notas, y ha sido principalmente estudiada en en el contexto de piano clásico. Sin embargo, muy poco esfuerzo ha sido dedicado al estudio de la expresividad en música popular. Concretamente, en música jazz acciones expresivas como los ornamentos son una parte importante de la expresividad musical ya que estos no están indicados en la partitura y es tarea del músico hacer uso de los mismos añadiendo o substituyendo notas en la partitura. Los músicos añaden ornamentos teniendo en cuenta el contexto melódico, armónico o rítmico del tema, o bien según su experiencia en el lenguaje jazzístico. En este trabajo, presentamos una investigación en el modelado computacional de la expresividad musical en música jazz, tomando la guitarra eléctrica como caso de estudio. En primer lugar, extraemos descriptores de alto nivel de las partituras y obtenemos datos de la ejecución a partir de las correspondientes grabaciones de audio, de donde obtenemos semiautomáticamente la desviaciones temporales y de energía de cada nota, así como la detección de ornamentos. Después de que cada nota ha sido caracterizada por su contexto musical, varios algoritmos de aprendizaje automático son explorados para, de un lado, inducir modelos de regresión para duración, comienzo de nota y volumen, y modelos de clasificación para ornamentos para, finalmente, renderizar ejecuciones musicales expresivas. Por otra parte, aplicamos técnicas de inducción automática de reglas al conjunto de descriptores obtenidos para obtener reglas de ejecución musical analizando su sentido musical. Por ultimo, analizamos la importancia relativa de los descriptores considerados, cuantitativamente evaluamos la exactitud de los modelos y discutimos acerca de las reglas obtenidas. Igualmente, reportamos métodos para la extracción-análisis semi-automático de datos, asi como aplicaciones en otros campos de investigación. Los resultados, los métodos presentados, así como los datos extraídos y las librerías de código generadas para llevar a cabo esta investigación constituyen un aporte relevante en el campo de estudio computacional de la expresividad musical, así como en otras áreas de investigación relacionadas.<br>El modelatge computacional de l'expressivitat en la interpretació musical, tracta sobre l'anàlisi i la caracterització de les desviacions que els músics introdueixen quan interpreten una peça musical, per afegir expressivitat, respecte la partitura. La major part del treball en anàlisi de l'expressivitat musical fa èmfasi en la manipulació de la durada i el volum de les notes. La majoria dels estudis s'han fet en el context de piano clàssic i molt poc esforç ha estat dedicat a la música popular. Concretament, en música jazz, accions expressives com els ornaments, són una part important de l'expressivitat musical; Tot i no estar indicats en la partitura, és tasca del músic fer ús dls ornaments, afegir o substituir notes en la partitura, tot tenint en compte el context melòdic, harmònic o rítmic del tema, o bé segons la seva experiència en el llenguatge jazzístic. En aquest treball, presentem una recerca en el modelatge computacional de l'expressivitat musical en música jazz, prenent la guitarra elèctrica com a cas d'estudi. En primer lloc, extraiem descriptors d'alt nivell de les partitures i obtenim dades de l'execució a partir dels corresponents enregistraments d'àudio, d'on també obtenim semiautomáticament les desviacions temporals i d'energia de cada nota així com la detecció d'ornaments. Després que cada nota hagi sigut caracteritzada pel seu context musical, diversos algoritmes d'aprenentatge automàtic són explorats per a diferents fins. D'un costat, induir models de regressió per a la durada, el començament de nota i el volum, i models de classificació per a ornaments per, finalment, renderitzar execucions musicals expressives. D'altra banda, apliquem tècniques d'inducció automàtica de regles al conjunt de descriptors obtinguts, per obtenir regles d'execució musical analitzant les seves implicacions musicals. Per últim, analitzem la importància relativa dels descriptors considerats, quantitativament avaluem l'exactitud dels models i discutim sobre les regles obtingudes. Igualment, reportem mètodes per a l'extracció-anàlisi semi-automàtic de dades, així com a aplicacions en altres camps de recerca. Els resultats, els mètodes presentats, així com les dades extretes i les llibreries de codi generades per dur a terme aquesta recerca, constitueixen una aportació rellevant en el camp d'estudi computacional de l'expressivitat musical i en altres àrees de recerca relacionades.

This dissertation is an exploration of the rhythmic concepts used in two South Indian musical theory concepts, solkattu and konokol. Konokol application largely depends on instrument limitations and musical contexts. The principle focus here is on my personal application of konokol to the guitar both through composed and improvised music. A detailed study of konokol was undertaken through private lessons in India and personal experimentation to determine how these concepts could be adapted to Western improvisation, harmony and composition, as well as right--‐hand classical guitar and plectrum techniques. This was done intuitively by exploring guitar techniques and konokol simultaneously. The outcome of this study was a process applied to guitar composition and improvisation. Graphic numerical tables and geometrical representations are outlined in this dissertation as a guide to understanding this process. The second outcome of this research includes a series of Western compositions improvised and through--‐composed. This outcome explores a fundamental concept, the practical applications of konokol and mrdangam patterns to guitar composition and guitar improvisation. The appendices include a practical reference guide to many of these concepts, providing a valuable and a beneficial resource for any musician who would like to use and understand rhythmic concepts outside the Western musical tradition. A compact disc of my original compositions demonstrating my application of konokol concepts and theories to guitar composition is also included as part of this research. This dissertation presents an alternative framework and methodology to the Western canon of rhythmic knowledge and involves rethinking numbers, rhythm and phrasing in a manner that is essentially different to the Western pedagogy of rhythmic knowledge. Possible future research on the collective memory and fractal design of konokol and how this is related to memory is also proposed.

The purpose of this study is to explore how arpeggioexcercises used as a method for studying improvisation is experienced. Research questions are: What is my attention directed towards when performing the exercise? What benefit for my improvising can there be by using arpeggioexercises? To investigate this, I have done eight practice sessions of one hour each where an arpeggioexercise is used to study a song. All sessions are ended with audio logs where I reflect on how things have gone during the practice session. I have also made two improvisations on the selected song, one before the practice sessions implementing the exercise and after. Regarding the processing of data, I have chosen a phenomenological perspective as a theoretical standpoint. The result shows what has been in my consciousness during the process of practicing and how my improvising has changed. The results first theme "Study Process" describes arpeggio as studying method. This theme is given the categories "Progression", "Detection of problems," "Mechanical exercise". In the second theme, "Improvised solos," describes the benefits of using arpeggios as a method of studying improvisation. Categories are here " Approach to the tonal and harmonic structures", "Rule-breaking approach". During the process, it appears that I have learned some new patterns and that I am more aware of what I do when I improvise. Meanwhile, the process proved to be exhausting.<br>Syftet med föreliggande studie är att utforska hur en specifik arpeggioövning som instuderingsmetod för improvisation erfars. Forskningsfrågor är: Vad riktar jag min uppmärksamhet mot i samband med övandet av arpeggion? Vad för nytta kan det finnas med arpeggioövning för när jag improviserar? För att undersöka detta har jag lagt upp 8 övningspass på en timme vardera där arpeggioövning används för att studera en låt. Alla övningstillfällen har avslutats med ljudloggar där jag reflekterar över hur det har gått under övningspasset. Dessutom har jag gjort 2 improvisationer över vald låt, en innan övningspassens genomförande och en efter. Som teoretisk utgångspunkt har jag valt ett fenomenologiskt perspektiv. I resultatet visas vad som har förekommit i mitt medvetande under instuderingsprocessen och hur mitt improviserande förändrats. Resultatets första tema ”Instuderingsprocessen” beskriver arpeggio som instuderingsmetod och mina tankar kring den. Under detta tema ges kategorierna ”Progression”, ”Uppdagande av problem”, ”Mekanisk övning”. I det andra temat, ”Improviserade solon”, beskrivs hur arpeggio som metod kommer till användning vid improvisation. Kategorier är här ”Förhållning till tonala och harmoniska strukturer”, ”Regelbrytande förhållningssätt”. Under processens gång framkommer att jag lärt mig en del nya mönster och att jag är mer medveten om vad jag gör när jag improviserar samtidigt som instuderingsprocessen visat sig vara utmattande.

The thesis investigates Wes Montgomery's improvisational style, with the aim of uncovering the inner workings of Montgomery's improvisational process, specifically his sequencing and placement of musical elements on a phrase by phrase basis. The material chosen for this project is Montgomery's composition 'West Coast Blues', a tune that employs 3/4 meter and a variety of chordal backgrounds and moving key centers, and which is historically regarded as a breakthrough recording for modern jazz guitar. The thesis reports on an analysis of Montgomery's 4 single note choruses of 'West Coast Blues', covering the three categories of Harmonic Elements, Melody, and Rhythmic Diversions. The solo is transcribed from the recording and divided into phrases, which are then examined for harmonic elements, element sequences and structural or form devices. Harmonic elements are identified into chordal and scalar categories, and Montgomery’s rhythmic elements are identified and catalogued. Melodic investigation analyses each phrase according to three categories and these are compared throughout the solo. Montgomery's use of rhythmic diversions, or instances when the predominant eighth note subdivision is not in effect, are identified and cataloged. Finally structural devices such as phrase length are examined, whereby phrases are compared to the harmonic background for beat placement. This thesis illuminates Montgomery's element sequencing, his preferred combinations of elements, and the length and placement of these elements relative to the harmonic background. It gives an insight into Montgomery's improvisational process and his incredibly sophisticated juxtaposition of musical ideas, harmonic, melodic and rhythmic, and puts forth strategies by which this process may be developed into a jazz pedagogy program.

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 composing by working like this? How could I in the process use the knowledge to develop harmonic possibilities and concepts on my main instrument? The work resulted in four newly composed pieces and concepts in how to improvise with melodies. I made the conclusions that the combination of variation, patience and a non-valuable working environment was a fruitful way to stay inspirated and creative.<br><p>Medverkande musiker:</p><p>Joanné Nugas - sång</p><p>Malte Bergman Byström - bas</p><p>Noa Svensson - trummor</p><p>Björn Eriksson - piano</p><p>Oskar Nilsson - gitarr</p><p>Ebba Åsman - trombon</p><p>Björn-Atle Anfinsen - trumpet</p>

Syftet med denna studie är att undersöka gitarrlärares syn på studenters förkunskaper inom pentatonik då de börjar inom högre musikutbildning. Metoden för studien bygger på kvalitativa intervjuer av tre erfarna gitarrpedagoger med flera decennier bakom sig inom högskola och folkhögskola. Studien har sin utgångspunkt ur ett sociokulturellt perspektiv. Resultatet visar på att lärarna uppfattar att studenter besitter förkunskaper inom pentatonik men att det finns tydliga kunskapsluckor.<br>The purpose of this study is to investigate guitar teachers’ views on college students’ prior knowledge of the pentatonic scale. The methodology used was based on interviews with three experienced college level teachers with several decades of teaching experience behind them. The study is rooted in a socio-cultural perspective. The result shows that the teachers unanimously believe the students enter higher education with prior knowledge of the pentatonic scale. However, there is consensus that there are gaps in their knowledge.

Throughout the history of jazz, the guitar has been an omnipresent voice as a rhythm section instrument and a solo voice. Having a strong guitarist in any jazz ensemble is a benefit and significantly increases the breadth of material that an ensemble can effectively perform. Taking a student with limited notational staff reading and chord vocabulary on the journey toward being a well-functioning guitarist in a jazz ensemble is no small feat! By understanding guitar function in jazz and melodic technique best practices, school music teachers can have a positive impact on young guitarists. This chapter addresses the technical possibilities/limitations of the guitar, diagnoses the needs and strengths of a young guitarist, recommends best practices, and provides a hands-on demonstration of learning through notated melodic and chordal examples.

Abstract In 1959 the release of the Brazilian film Black Orpheus introduced the musical bounty of Brazil to international audiences. The award-winning film presented many viewers with their first glimpse of the authentic music and culture of Brazil, one of the largest and most populous countries in the world. In the film, the Greek myth about the lovers Orpheus and Eurydice is played out in Rio de Janeiro during carnaval. Exotic percussion instruments and the call-and-response singing typical of Rio’s escolas de samba fill the soundtrack, interspersed with melodies played by solo guitar and compositions by Antonio Carlos Jobim and Luiz Bonfa, then young musicians in Rio’s artistic community. Their music combined the textures and rhythms of Brazil with elements from American jazz, classical and twentieth-century composition, and even Hollywood film music. These elements fused into the style that would soon have an enormous influence on jazz and popular music around the world: the bossa nova, literally, “new beat.” The bossa nova was typically played with a slow samba rhythm and performed in a light, unaccented manner, comparable to the “cool jazz” popular in the United States during the 1950s.

Abstract Employment for jazz musicians developed wherever there was a demand for festive music. In the early 1900s the black and creole neighborhoods in New Orleans were especially fertile places since music was an important part of community activity there. Sidney Bechet contradicts the myth of Storyville as the cradle of jazz. People have got an idea that the music started in whorehouses. Well, there was a district there, you know, and the houses in it, they’d all have someone playing a guitar or a mandolin, or a piano someone singing, maybe; but they didn’t have orchestras, and the musicianers never played regular there. The musicianers would go to those houses just whenever they didn’t have a regular engagement, when there was no party or picnic or ball to play at. But in those days there was always some party going, some fish fry, and there was always some picnic around the lakes.

This chapter focuses on jazz musicians in Beijing. While Shanghai owned China's jazz history spotlight in the first half of the twentieth century, Beijing is not without its own indigenous leading lights, musically speaking. Some have been trained in classical music in China and in the United States and have returned to Beijing to perform; others are self-taught. Many are young; some have been around before and after Mao. All are devoted to the music. In Beijing, saxophonist Fan Shengqi is by all accounts the most enduring jazz musician who performed before, during and after Mao. His involvement in the contemporary Chinese music scene is reflected in his participation in China's first guitar festival, held in August 2005 on what is described as “scenic Hainan Island” located in the South China Sea.

Surinamese jazz musicians began playing jazz in The Netherlands earlier than they did in Suriname, and jazz has different backgrounds in both countries as well. This chapter deals with the rise and reception of Surinamese jazz musicians in The Netherlands from the 1930s through to the 1970s. “It cannot be a coincidence,” wrote Herman ‘Doctor Jazz’ Openneer, “that Surinamese jazz began in The Netherlands in 1935.” The fee people like Armstrong commanded for a performance was much too high for many promotors in those days. Someone soon came up with the idea of offering Surinamers contracts and giving them American names. From then on Theodoor Kantoor was known as Teddy Cotton, and Arthur Parisius became Kid Dynamite. The Dutch believed that all blacks who played jazz were American. Rumor has it a notice was sent to Suriname: “Guys, come to Holland and take your guitar and two drumsticks with you.”

Abstract Eddie Condon was one of the group of young musicians who developed what became known as the Chicago style of jazz. In addition to playing banjo and guitar, he became an organizer of record dates, producer of jazz concerts, and a saloonkeeper. His two main interests in life besides his family were to hang around the music he loved and to stay loaded. He had a quick wit and a ready tongue. When asked what he thought of jazz as an art form, he was disdainful: “Canning peaches is an art form!” Condon was at a party where a phonograph was playing an Eddy Duchin record. One of the guests said, “Don’t you adore Eddy Duchin, Mr. Condon? He really makes the piano talk, doesn’t he?” Condon said, “He certainly does.

Fender Stratocasters, Steinway grand pianos, Marshall amplifiers, the iPod – these are all brands associated with the music business in one way or another. However, in addition to these product brands, there is regular talk within the music industry of pop idols, rock icons, pop stars, jazz greats, rock gods, legendary opera singers, cult bands, guitar heroes, stellar performances, trademark sounds, signature tunes, classic albums, breakthrough singles, rock ‘n’ roll myths, anthemic songs, breakout/ breakthrough recordings, and – of course – hype. These terms have in common the signification of some kind of, or some claim to, cultural distinction. From a marketing point of view, this kind of talk fits very easily into the strategic notion of positioning, as well as the discourse of branding.

Abstract Like the nuclear arms race, classical music was two-way traffic; the Russians arguably possessed classical composers able to inspire larger audiences than the major modernists of the West. This was not the case in the field of popular music and entertainment. The Russians regularly exported spectacular folk-dancing ensembles, the Red Army Choir, and circus acrobats, but the balalaika was no match for the 25-watt electric guitar, the synchronized stamping of a hundred boots no match for a 100-watt PA system. If Western youths wanted balalaikas they could have them-but they didn’t.