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Relevant bibliographies by topics / Jazz drummers

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Journal articles
Dissertations / Theses
Books
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Academic literature on the topic 'Jazz drummers'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Jazz drummers"

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Honing, Henkjan, and W. Bas de Haas. "Swing Once More: Relating Timing and Tempo in Expert Jazz Drumming." Music Perception 25, no. 5 (June 1, 2008): 471–76. http://dx.doi.org/10.1525/mp.2008.25.5.471.

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Swing refers to a characteristic long-short subdivision of the beat that is generally considered a crucial aspect that contributes to the quality of a jazz or pop performance. The current study measures this pattern (referred to as the 'swing ratio') at different tempi in jazz drumming. The experimental setup differs from earlier studies in a number of ways. First, swing ratios were systematically measured at different beat durations in a musically realistic range. Second, repeated performances were collected to check for consistency. Third, drummers were asked to perform on a full MIDI drum kit. The results show that professional jazz drummers have enormous control over their timing. Nevertheless, the swing ratio is not kept constant, but it is systematically adapted to a global tempo. As such, this study provides further support for the hypothesis that expressive timing generally does not scale with tempo.

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Friberg, Anders, and Andreas Sundstroem. "Jazz drummers’ swing ratio in relation to tempo." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1330. http://dx.doi.org/10.1121/1.426228.

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Lederman, Richard J. "Drummers’ Dystonia." Medical Problems of Performing Artists 19, no. 2 (June 1, 2004): 70–74. http://dx.doi.org/10.21091/mppa.2004.2011.

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Several reviews involving large numbers of instrumental musicians with focal dystonia from centers in the United States and Europe are available in the performing arts medicine literature, but only a relatively few percussionists have been included. This article describes 6 percussion instrumentalists, out of a total of 139 musicians with dystonia, seen in the Cleveland Clinic Medical Center for Performing Artists. The five men and one woman ranged in age from 21 to 51 years at the onset of dystonia; four were playing professionally, and two were students. Duration of symptoms at the time of evaluation ranged from 1 to 10 years, although five of six were seen 3 years or less after onset. Three were primarily classical percussionists, two played mainly jazz or rock, and one played country music. Two of the six were left-handed; dystonia affected the right arm in three, the left in two, and the left more than the right in one. The nondominant limb was affected solely or predominantly in five of six. Dystonia affected primarily the forearm and wrist, rather than the digits, in contrast to most keyboard, string, and woodwind instrumentalists, presumably reflecting the relative stresses of repetitive movements in this group. A variety of treatment modalities were used before and after evaluation. Of the three musicians still actively playing, one uses anticholinergic medication before each performance, one has restricted her playing to mallet instruments, and one has had a favorable response to limb immobilization. Two others remain in music, teaching or conducting; one has been lost to follow-up.

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Buis, Johann S., and Michael H. Kater. "Different Drummers: Jazz in the Culture of Nazi Germany." Notes 50, no. 3 (March 1994): 1010. http://dx.doi.org/10.2307/898582.

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Bodek, Richard, and Michael H. Kater. "Different Drummers: Jazz in the Culture of Nazi Germany." German Studies Review 16, no. 3 (October 1993): 572. http://dx.doi.org/10.2307/1432179.

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Sackett, R. E., and Michael H. Kater. "Different Drummers: Jazz in the Culture of Nazi Germany." American Historical Review 98, no. 3 (June 1993): 895. http://dx.doi.org/10.2307/2167639.

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Herdener, Marcus, Thierry Humbel, Fabrizio Esposito, Benedikt Habermeyer, Katja Cattapan-Ludewig, and Erich Seifritz. "Jazz Drummers Recruit Language-Specific Areas for the Processing of Rhythmic Structure." Cerebral Cortex 24, no. 3 (November 25, 2012): 836–43. http://dx.doi.org/10.1093/cercor/bhs367.

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Hamelman, Steve. "Women Drummers: A History from Rock and Jazz to Blues and Country." Popular Music and Society 39, no. 1 (January 13, 2015): 137–39. http://dx.doi.org/10.1080/03007766.2014.994304.

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Friberg, Anders, and Andreas Sundströöm. "Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern." Music Perception 19, no. 3 (2002): 333–49. http://dx.doi.org/10.1525/mp.2002.19.3.333.

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The timing in jazz ensemble performances was investigated in order to approach the question of what makes the music "swing." One well-known aspect of swing is that consecutive eighth notes are performed as long-short patterns. The exact duration ratio (the swing ratio) of the long-short pattern has been largely unknown. In this study, the swing ratio produced by drummers on the ride cymbal was measured. Three well-known jazz recordings and a play-along record were used. A substantial and gradual variation of the drummers' swing ratio with respect to tempo was observed. At slow tempi, the swing ratio was as high as 3.5:1, whereas at fast tempi it reached 1:1. The often-mentioned "triple-feel," that is, a ratio of 2:1, was present only at a certain tempo. The absolute duration of the short note in the long-short pattern was constant at about 100 ms for medium to fast tempi, suggesting a practical limit on tone duration that may be due to perceptual factors. Another aspect of swing is the soloist's timing in relation to the accompaniment. For example, a soloist can be characterized as playing "behind the beat." In the second part, the swing ratio of the soloist and its relation to the cymbal accompaniment was measured from the same recordings. In slow tempi, the soloists were mostly playing their downbeats after the cymbal but were synchronized with the cymbal at the off-beats. This implied that the swing ratio of the soloist was considerably smaller than the cymbal accompaniment in slow tempi. It may give an impression of "playing behind" but at the same time keep the synchrony with the accompaniment at the off-beat positions. Finally, the possibilities of using computer tools in jazz pedagogy are discussed.

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Bell, Thomas McCarthy. "Women Drummers: A History from Rock and Jazz to Blues and Country by Angela Smith." Notes 72, no. 3 (2016): 515–17. http://dx.doi.org/10.1353/not.2016.0031.

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Dissertations / Theses on the topic "Jazz drummers"

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Lyttle, David. "Modern approaches to swing jazz drumming : A stylistic analysis of twelve American jazz drummers, 1980-2008." Thesis, University of Ulster, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502893.

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Clark, Colleen (Musician). "The Evolution of the Ride Cymbal Pattern from 1917 to 1941: An Historical and Critical Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505181/.

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The purpose of this study is to provide a historiographical and musical analysis examining the jazz ride cymbal pattern, from its inception on woodblock, small accessory cymbals, hand cymbal mechanisms and brushes through what becomes known as the modern-day ride cymbal pattern. This research examines a wide array of drummers and bandleaders, with the objective of identifying the earliest recordings of this important addition to jazz drumming, and popular music history while analyzing the ride cymbal pattern's evolution through definitive recordings. The study begins with the earliest known recordings that clearly display the pattern as it is played on any of the instruments mentioned above. The research concludes with the jam sessions of the early 1940s at Minton's Playhouse, where the pioneer of bebop drumming, Kenny Clarke, experimented with altering the pattern. At this point, the pattern reach its final level of maturity and has since experienced no subsequent major modification. The historical and geographical analysis uses relevant literature from the field of jazz history in order to interpret and evaluate the impact of the the overall trajectory of the music and players. By surveying newspaper and magazine articles, archival interviews, and photographic sources, combined with audio and film analysis, it is clear that drummers navigated a path to the maturation of the pattern.

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Katuszonek, N. M. "Jazz, pop, improvisation, national identity and the role of the jazz drummer." Thesis, University of Salford, 2014. http://usir.salford.ac.uk/32827/.

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This research is focused on the interrelationship between three themes: the identity of contemporary jazz, the relation between contemporary jazz and popular music, and thirdly, jazz and national identity. Using this triangulation, I examine the constructed nature of musical practice, interrogating the notion that the distinctions between music, whether it is genre specific or geographically determined, are natural and innate. Linking theory to practice, I examine how the areas of my research described above, feed into my role as a professional, contemporary jazz drummer. The restricting effect of defining the role of the contemporary jazz musician in rigid, genre-centred definitions is questioned through examining jazz’s relationship with popular music and the music’s’ standing in the hi-art vs. popular culture debate. This area is practically explored in the performance projects through the juxtaposition of both popular repertoire and technical approaches to popular styles with contemporary jazz performance conventions. The notion of jazz and national identity is examined through reflecting on the personal experiences of my role as an arranger and performer operating in Norway and the UK. Specifically, this research will seek to enhance our understanding of the roles the drummer has to play in negotiating the codes and rules used in this area of creative music making. My research is based on a practice-led methodology pursued through two sets of comparative performance projects that have evolved over the last three and a half years. This work utilizes the process of creating the music, live performances and recordings as case studies for comparison and analysis. The content of each performance project provides a platform for me to engage with the specific areas outlined in the thesis and I use practice as a means of raising and exploring questions and explaining codes and conventions.

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Archibald, Paul. "Construction of, and performance on, the early drum kit." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/29632.

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For over one hundred years the drum kit has been a driving force in shaping popular music, yet in popular culture the kit is not taken as seriously as other instruments, with drummer jokes abound. This hierarchy is reflected across academia and music literature, where the drum kit is least discussed amongst other instruments commonly found in popular music. Looking within the context of early jazz—one of the first styles of music the drum kit helped shape—historians and publishers were keen to ensure leading horn players told their story, while the drummers, who rarely secured similar levels of fame or recognition, had comparatively little chance to record their story. Detailed histories of the instrument are therefore scarce, incomplete, or riddled with inaccuracies and misunderstandings. This thesis presents a clear and detailed history of the instrument, from its beginnings to its early form in the mid 1930s. I then examine how the early drum kit was represented at the time through recordings, one of the most important methods of documenting how this instrument was used. Finally, I investigate how drummers performing on early drum kits today approach their playing, and how they deal with the problems identified in this thesis. In doing so I used optical character recognition (OCR) on digital archives, newspapers, interviews, magazines, catalogues and photographs from the early twentieth century, much of which has only become available in the past few years. Using these primary sources, I have constructed a reliable history and have unearthed new sources that shed light on the history and development of the instrument. Furthermore, through my own experiences and interviews of current early drum kit players, I have shown how this instrument in its early form is played, and how it differs from the instrument we know today.

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Elmes, Barry W. "Elvin Jones : defining his essential contributions to jazz /." 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11781.

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Thesis (M.A.)--York University, 2005. Graduate Programme in Music.
Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11781

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KUO, YI-HSUAN, and 郭逸萱. "The Research and Deliberation of Brushes in Jazz Style - Analysis of Famous Drummer Transcription and Performance in the 20th Century." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6q2y8d.

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碩士
輔仁大學
音樂學系
107
Brush playing is an indispensable technique in the performance of a drum set. It’s warm sound, low frequency, and long sustain make it possible for the drummer to have different interpretations. This paper transcribes three famous drummer’s playing, including Elvin Jones (1927-2004) - “Willow weep for Me”, Kenny Washington (1958-) - “Raincheck” and Jeff Hamilton (1953-) -“Daahoud” with comparing the music analysis and interpretation. Through this research topic, the reader is unified in the use of brushes and provides a more systematic application of drum brushing and performance. I hope that this rich and informative dissertation of a particular subject will become a modern drumming example in Taiwan.

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Lee, Chang-Hung, and 李長鴻. "The Research and Deliberation of Drum Set Performance Styles in 20th Century- Take Famous Jazz and Rock and Roll Drummer Performance as Examples." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/36584h.

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碩士
輔仁大學
音樂學系
102
The history of drum sets development is just only around one hundred years, but they are generally used in different music styles. Jazz and Rock and Roll music play the most important roles of drum sets evolution. Drum sets also become the indispensable element of Pop music. The research purpose of this thesis is offering people who want to learn playing the Jazz drums obvious concepts of different backgrounds and music characteristics of different generations by analyzing, deliberating and collecting amount of materials which include lots of books, magazines, and audio materials that the author studied and listened to all around the world, and also taking famous drum players as examples which give more clear performance ways to play the jazz drums and set the model of practicing and performing. The thesis is divided in five chapters according to studies of four parts of performance of drum sets. The first part is based on the history of Jazz music to understand different Jazz performance styles from different generations and analyzes special skills of playing Jazz from famous players who devoted themselves to Jazz. The second part is heeded on studying deeply about important drummers of Rock n Roll history and music. The third part analyzes references and history about drum sets because they play the soul role in Jazz and Rock n Roll music. The forth part is interviewing modern drummers in Taiwan about their stage experiences to realize clearly the differences of music characteristics between Jazz and Rock and Roll. The author hopes that people who want to learn to playing the drum set could understand the characteristics, styles and differences between two main trends of music by his devoted study.

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Books on the topic "Jazz drummers"

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Spagnardi, Ron. The great jazz drummers. Cedar Grove, N.J: Modern Drummer Publications, 1992.

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Spagnardi, Ronald. The great jazz drummers. Cedar Grove, NJ: Modern Drummer Publications, 1992.

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Gourse, Leslie. Timekeepers: The great jazz drummers. New York: Franklin Watts, 1999.

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Gourse, Leslie. Timekeepers: The great jazz drummers. New York: Franklin Watts, 1999.

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Papa Jazz: Lífshlaup Guðmundar Steingrímssonar. Reykjavík: Hólar, 2009.

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Different drummers: Jazz in the culture of Nazi Germany. New York: Oxford University Press, 1992.

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Jacobs, Gil. Harold Jones: The singer's drummer. Bloomington, IN: AuthorHouse, 2011.

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Hampel, Gunter. Pierre Courbois, révocation: Met Gunter Hampel ... et al. ; teksten, Bert Vuijsje ... [et al.] ; samenstelling en redactie, Paul Kusters en Titus Schulz. Utrecht: Van Gruting, 2010.

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Dumoulin, Daniel. Entretiens avec André Ceccarelli. Biarritz: Séguier, 2005.

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Fuck fiction. Bologna: Pendragon, 2006.

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Book chapters on the topic "Jazz drummers"

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Kater, Michael H. "Jazz Defiant The Reassertion of a Culture." In Different Drummers, 57–110. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195165531.003.0003.

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Kater, Michael H. "Epilogue The Final Victory Postwar Jazz Triumphant." In Different Drummers, 202–12. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195165531.003.0006.

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Kater, Michael H. "Introduction The Ambiguous Culture Jazz in the Weimar Republic." In Different Drummers, 3–28. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195165531.003.0001.

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Kater, Michael H. "Jazz Goes to War Compliance and Defiance, September 1939 to August 1942." In Different Drummers, 111–62. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195165531.003.0004.

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Kater, Michael H. "Near Defeat: Jazz Toward the “Final Victory” September 1942 to May 1945." In Different Drummers, 163–201. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195165531.003.0005.

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Brennan, Matt. "Noisy drummers, ragtime, jazz, and the avant-garde." In Kick It, 55–104. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190683863.003.0003.

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This chapter examines the early drum kit and how it challenged preconceptions about the relationship between noise and music. First, it explores the development of ragtime music. Second, it examines the negative impact of the early music scholarship on the status of the drum kit and drummers. Third, it discusses the profession of trap drummers and their role in performing sound effects for silent film. Fourth, it discusses the challenges facing women who wished to become professional drummers, the association between percussive noise and immigrant cultures, the influence of Chinese instruments on the early drum kit, and the origins of Tin Pan Alley. Fifth, it examines the role of the drum kit in the birth of jazz. Sixth, it explores the drum kit and drummers in 1920s recording studios. Finally, it examines the influence of the drum kit and other percussion instruments in classical music.

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Evans, Gregory. "Jazz Drums." In Teaching School Jazz, 219–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0020.

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It is no secret that music educators are faced with unique challenges when engaging young musicians who play drum sets. Many educators aren’t drummers themselves, which can create fear and uncertainty and ultimately lead them to avoid, rather than embrace, the wonderful and exciting world of jazz percussion. This chapter provides conceptual and technical approaches to understanding the role each component of the drum set contributes to the ensemble, as well as the role of the drum set in its entirety. It also touches on how dynamics can change the function and style of a groove as well as creative ways to encourage students to move beyond pattern playing. In particular, discussion and examples are provided regarding setup, sound sources, keeping time, functioning within the rhythm section, transitioning from timekeeping to improvising, and various rhythms and grooves.

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Wells, Christi Jay. "“Lindy Hopper’s Delight”." In Between Beats, 61–108. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197559277.003.0003.

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As jazz music became popular entertainment nationwide, many dances circulated from social venues to professional floor shows and ballroom stages and then back again to amateur social practice. As musicians built careers playing for social dancers touring with professional dance acts, they learned to structure their performances collaboratively by listening visually to dancers’ bodies. Jazz musicians, and especially drummers, learned to accentuate dancers’ movements and engage them in playful “catching” games while also providing the stable rhythmic framework that encouraged dancers to participate kinesthetically with the music. This chapter explicates the dynamics of such relationships through the career of drummer Chick Webb, whose reputation was built on the strength of his close connection with lindy hop dancers during his tenure as house bandleader at Harlem’s Savoy Ballroom throughout the 1930s. Specifically, it explores his close connections with Whitey’s Lindy Hoppers, a group of talented young dancers who became among the first to adapt this social partnered dance for the professional stage and, ultimately, for Hollywood films. Webb played regularly for elite lindy hop dancers in films, in touring stage shows, for amateur dance contests, and nightly at the Savoy, and his evolving relationship with them throughout the 1930s reveals the fluid boundaries between labor and play through which musicians and dancers co-creatively shaped jazz’s development.

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Crist, Stephen A. "Onto the World Stage." In Dave Brubeck's Time Out, 23–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190217716.003.0002.

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This chapter concerns the internationalization of the Dave Brubeck Quartet. After several years of preliminary discussions, in 1958 the group finally traveled abroad for the first time, on a three-month trip, largely under the auspices of the US State Department. By this time, the Quartet’s personnel finally reached a steady state, after a series of different bass players and drummers. The “classic” Quartet was the group of musicians who recorded Time Out the next year. Around the same time, Brubeck became increasingly involved with issues of civil rights. The Quartet also made history in the late 1950s by performing jazz in concert halls and on college campuses. Finally, Dave and Iola Brubeck devoted themselves tirelessly to the creation and promotion of The Real Ambassadors, a musical that they hoped would be produced on Broadway.

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West, Chad, C. Michael Palmer, Michael Grace, and Daniel Fabricius. "Beginning Rhythm Section." In Teaching School Jazz, 77–92. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0008.

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How does one take a concert band snare drummer, classically trained pianist, orchestral bass player, and self-taught guitar player and turn them into a jazz rhythm section? The drummer has never had so many drums and cymbals to worry about, the pianist may be playing with a group for the very first time, the bass player has to learn to “walk” a bass line, and the guitar player has to play in foreign keys. This chapter addresses the teaching of the rhythm section with regard to (a) rhythm section notation, (b) bass, (c) piano, (d) guitar, (e) drum set, (f) auxiliary instruments, and (g) rhythm section rehearsal strategies. It presents a sequential approach to teaching the beginning rhythm section: (a) walking bass lines, (b) voicing chords, (c) comping patterns, (d) playing setups and fills, and (e) interpreting and realizing instrument-specific rhythm section notation markings.

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