To see the other types of publications on this topic, follow the link: Jazz – History and criticism.
Dissertations / Theses on the topic 'Jazz – History and criticism'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Jazz – History and criticism.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.
Full text
2
Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.
Full textAbstract:
This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory.
Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.
3
Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.
Full textAbstract:
French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
4
Dalamba, Lindelwa Ncedisa. "Passports to jazz : the social and musical dynamics of South African jazz in Britain, 1961-1973." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.697434.
Full text
5
Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.
Full textAbstract:
Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.
6
Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.
Full textAbstract:
In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
7
Ayrton, Brook Alan. "Keith Stirling : An introduction to his life and examination of his music." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7728.
Full textAbstract:
This study introduces the life and examines the music of Australian jazz trumpeter Keith Stirling (1938-2003). The paper discusses the importance and position of Stirling in the jazz culture of Australian music, introducing key concepts that were influential not only to the development of Australian jazz but also in his life. Subsequently, a discussion of Stirling’s metaphoric tendencies provides an understanding of his philosophical perspectives toward improvisation as an art form. Thereafter, a discourse of the research methodology that was used and the resources that were collected throughout the study introduce a control group of transcriptions. These transcriptions provide an origin of phrases with which to discuss aspects of Stirling’s improvisational style. Instrumental approaches and harmonic concepts are then discussed and exemplified through the analysis of the transcribed phrases. Stirling’s instrumental techniques and harmonic concepts are examined by means of his own and student’s hand written notes and quotes from lesson recordings that took place in the early 1980s.
8
Camacho, Bernal Leonardo. "Miles Davis: The Road to Modal Jazz." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3693/.
Full textAbstract:
The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music?
9
Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.
Full text
10
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/.
Full textAbstract:
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 Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.
11
Kelly, Kenneth Todd. "Chet Baker : a study of his improvisational style, 1952-1959." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.
Full textAbstract:
The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyzed by the researcher; melodies of standard songs were transcribed and compared with the original version. The number of solos selected from each period was based on the length of time Baker spent with each particular group and the number of albums recorded. The solos were analyzed in terms of rhythmic interpretation of melodies, intervals utilized, use of nonharmonic tones, use of jazz cliches, embellishment of the melodic line, use of melodic and rhythmic patterns, range, tone quality, articulation, vibrato, and vocal scat syllables. As a result of this analysis, the researcher was able to draw conclusions concerning Baker's improvisational style during the period of the study.School of Music
12
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/.
Full textAbstract:
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.
13
Aldag, Daniel J. "The influence of jazz on timbre in selected compositions for solo trombone." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/aldag%5Fdaniel/index.htm.
Full text
14
Sweeney, Dwight Paul. "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2823.
Full textAbstract:
Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.
15
Goodman, Dave. "Tony Williams' drumset ideology to 1969: Synergistic emergence from an adaptive modeling of feel, technique and creativity as an archetype for cultivating originality in jazz drumset performance studies." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7797.
Full textAbstract:
I identify Tony Williams’ formative drumset ideology as being emergent from his adaptive modeling of the feel, technique and creativity identified in the drumming of Art Blakey, Max Roach and Philly Joe Jones respectively and present the results of extensive textual and musicological research on Williams’ formative practices between 1945 and 1969 as an archetype for cultivating originality in jazz drumset performance studies. I examine patterns of creative thought in the New York jazz community as they developed from the relative heteronomy of modernist bebop improvisation to the postmodernist aesthetic of jazz-rock fusion resulting in the emergence of collective autonomy in musical interaction and improvisation. My research reveals Willams’ possession of autotelic personality and utilisation of learning techniques associated with heutagogy. Also identified is the prevalence of entrainment in the social and musical interactions of the New York jazz community and I interpret these qualities through the lens of the theory of complex adaptive systems as a model for learning in jazz drumset performance studies. I analyse Williams’ ensemble and solo drumming in comparison to that of Blakey, Roach and Jones in addition to Roy Haynes by using an analytic schema designed specifically for identification of contrasting qualities in the voicing of rhythm and expression as revealed in the grouping and ordering of limbs in drumset performance. I present a complete stylistic overview of Williams’ recorded output until 1969 including swing, avant garde, ballad, straight eighth-note and sixteenth-note oriented styles as well as complex temporal events such as polymetric superimposition, rubato, polytempo, superimposed metric modulation, metric modulation and tempo fluctuation.
16
Farley, Jeff. "Making America's music : jazz history and the Jazz Preservation Act." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/519/.
Full textAbstract:
The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity and its identity as an innovative black American art form. Recognition for jazz as American music, in conjunction with its improvisational nature, consequently led to the identification of jazz as ‘democratic’ music through its role in racial integration in America and in its representation of American democracy in government propaganda programmes. The different histories of jazz and its status as democratic, American music have all been especially important to the development of House Concurrent Resolution 57 in 1987, referred to as the Jazz Preservation Act (JPA). Authored by Congressman John Conyers, Jr. of Michigan, the JPA defined jazz as a ‘national treasure’ that deserved public support and inclusion in the education system. Few in the industry have criticised the recognition and public subsidy of jazz, but many have found fault with the JPA’s definitions of jazz and its history that have dictated this support. While the JPA has essentially continued the practice of shaping jazz through ideas of its place within American culture and society, it has provided immense resources to promote a fixed history and canon for jazz. Specifically, the JPA has promoted jazz as the American music, taking a particular stance on the histories of race and discrimination in the industry and the definitions of authentic jazz that had been sources of disagreement, competition, and creativity since the release of the first jazz record in 1917.
17
Petty, Simon. "Tasmanian Jazz Identity: A History of Jazz in Tasmania 1917-1989." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404860.
Full textAbstract:
The Tasmanian Jazz Identity theme is used as the overarching framework for this research, which identifies unique factors in Tasmania’s jazz history compared with other Australian states. Identity, in its broad sense, is a product of geography and history. Australia has a continent-wide jazz regionalism and identity separate from the US; however, there is also much that is distinctive about Australia’s regional jazz scenes. Regional jazz scenes have not been extensively examined in the written histories of Australian jazz. Tasmania is one of the most unique as its isolation has resulted in differences from other jazz sites on Australia’s mainland. Therefore, Tasmania’s jazz scene needs to be understood in its own context; nowhere else in Australia are boundaries so formidable and fixed as Tasmania’s, with the Bass Strait and the Indian and Pacific Oceans.
Despite its small population Tasmania has a high degree of autonomy. The individualism of Tasmania’s jazz scene and identities therein are linked to the broader Australian jazz style, but because of the conditions, geography and circumstances in which they evolved, Tasmania developed a distinct, localised, Australian jazz vernacular.
The importance of this research is in bridging the gap in the existing literature on Australian jazz history by presenting a sequential, chronological account of Tasmania’s jazz scene from 1917 to 1989, and the musicians who created it. Accordingly, this research focuses on seminal musicians, bands, and identities who contributed to establishing and maintaining jazz activity in Tasmania. This is presented as detailed biographical accounts of individuals or ensembles and their principal contributions, together with a comprehensive investigation into the main musicians, bands, major events, locations, and organisations that developed the jazz scene.
This primary research contributes to, and builds upon, the current knowledge and understanding of jazz developments in Australia. It moves beyond the standardised ideas of the Australian jazz identity, by focusing on the broader cultural landscape in order to better understand the role of jazz in the social history of Australia. It provides this information as a foundation for education and a better understanding of Australia’s rich jazz culture and presents a case for the acknowledgment of Tasmania’s important and unique contribution to Australian jazz.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
18
Li, Mo. "A History of Jazz in China: from Yellow Music to a Jazz Revival in Beijing." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1532518802970811.
Full text
19
Torregano, Michael James Sr. "The history of jazz education in New Orleans: an investigation of the unsung heroes of jazz education." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11064.
Full textAbstract:
Thesis (D.M.A.)--Boston UniversityThis study contributes to the literature on New Orleans jazz by providing a chronological documentation of the contributions of teachers and mentors who provided jazz education outside of public or private schools. This study documents the pedagogical styles and techniques used by teachers and mentors who transferred the jazz style and tradition to young students in New Orleans. The jazz education of students in New Orleans has been a comprehensive effort consisting of schoolteachers, private tutors, and community groups teaching the jazz style and tradition to young musicians. Jazz educators have risen above the obstacles offunding and slow acceptance ofjazz by the public schools to maintain a rich musical heritage in the city. The efforts of these teachers and mentors, have contributed to New Orleans maintaining an active and viable jazz community.
20
Brown, Daniel Richard. "A HISTORY AND ANALYSIS OF THE ADVANCEMENTS IN JAZZ TUBA PERFORMANCE FROM 1940 UNTIL 2010." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195330.
Full textAbstract:
The purpose of this study is to provide a history of the development of jazz tuba performance from 1940 until 2010. The history consists of profiles of jazz tubists that developed or participated in new styles of jazz tuba performance. Musical figures are provided for different decades of change. Figures are taken from the original scores or transcribed from recordings and analyzed to highlight advancements.
21
Amaral, Luiza Spínola. "A mídia e o jazz no Brasil: investigação em torno da recepção crítica dos festivais de jazz na imprensa paulistana." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4283.
Full textAbstract:
Made available in DSpace on 2016-04-26T18:10:51Z (GMT). No. of bitstreams: 1
Luiza Spinola Amaral.pdf: 5391999 bytes, checksum: a0305edbd9d9a470ac4abfd8fafaecfb (MD5)
Previous issue date: 2011-05-06Conselho Nacional de Desenvolvimento Científico e Tecnológico
The main objective of this research is to rescue the historical memoire of brazilian popular music through the media coverage that jazz festivals get from São Paulo's press. It's also about focusing on the relationship between the cultural industry and the critics, exposing how our musical memory is smothered by a certain sociological view of jazz as just another product of american culture and how this line of opinion, suspicious as it is, counterpoints the semiotic stream of critics that, among other musicologists, belongs Augusto de Campos. It's a documental and bibliographical research. The core of the research is a gathering of journalistic stories exposed here, establishing an analytical overview of São Paulo's press media
O objetivo desta pesquisa é levantar o registro histórico da memória da música popular no Brasil, através de um acompanhamento da cobertura jornalística que os festivais de jazz recebem na mídia impressa paulistana. Trata-se também de enfocar as relações que se estabelecem entre a crítica e a indústria cultural, mostrando como nossa memória musical é inflexionada por certa visão sociológica a partir da qual se enxerga o jazz como mais um produto da indústria cultural norte-americana, e como a esta linha que diríamos marcada pela suspeição contrapõe-se, a partir de determinado momento, à corrente dos semioticistas, a que pertence, enquanto musicólogo, Augusto de Campos. Metodologicamente trata-se de uma pesquisa bibliográfica e documental. O corpus da pesquisa constitui-se no conjunto de matérias críticas jornalísticas aqui em exame, conjunto do qual foi recortada uma parcela de textos a analisar
22
Heller, Michael C. "Reconstructing We: History, Memory and Politics in a Loft Jazz Archive." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10328.
Full textAbstract:
This dissertation examines a recently discovered archive of films, recordings, photographs and documents relating to the New York jazz lofts of the 1970s. The work not only reconstructs historical details about the lofts, but also explores the significance of the archival project itself, an independent venture founded in 2005 by musician and former loft organizer Juma Sultan. By combining historical research in the Sultan archive and ethnographic engagement with former loft artists, the study examines the continued symbolic significance of the loft era for musicians, listeners and historians. The jazz lofts were independently owned, musician-run spaces in lower Manhattan that served as performance venues, rehearsal halls, living quarters, classrooms and in a variety of other functions. Their emergence is best considered as part of a widespread, politically informed impetus among musicians of the period to organize their own concerts and collective organizations. While the activities shared many similarities with other artist-organized groups emerging in Chicago, St. Louis and elsewhere, the lofts’ independence and lack of a central organizing body led to a more diffuse set of activities than manifested in other cities. The dissertation is structured around two primary goals. First, through archival study and ethnographic engagement, the text traces the musical and social significance of the loft period. Following a basic historical chapter, two thematic discourses are examined at length. The first deals with multivalent forms of freedom envisioned by artists, while the second explores ways that participants conceptualized community and social cohesion. The choice of these discourses is informed by descriptions offered in ethnographic interviews with former loft artists. Second, the research considers the role of the archive itself in the re/construction of historical discourses. A notable self-archiving impulse emerged among jazz artists during the years under study, resulting in thousands of amateur recordings in dozens of private collections. Using the Sultan Archive as the primary case study, the dissertation argues that this self-archiving impulse acts as an artist-initiated intervention into historiographic processes that mirrors the musician-organized ethos of the lofts themselves.Music
23
Schroeder, Dave. "The Evolving Role of the Electric Bass in Jazz: History and Pedagogy." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/575.
Full textAbstract:
The advent and development of the electric bass as an instrument was examined in relation to its application to the genre of jazz and related styles. The evolving role of the bass in the early stages of the development of the jazz genre was considered. The work of pioneering acoustic bassists such as Jimmy Blanton emancipated the bass from its traditional, subordinate and supportive function. Bassists began to explore harmonically elaborate solos in a similar fashion to horn players. Electric bassists are able to expand on the harmonic aspects of the instrument partly due to the playability afforded by the electric bass as opposed to the acoustic bass. Leo Fender’s 1951 Precision bass was a significant development, though it was preceded by earlier attempts to create various electric amplified basses. Jaco Pastorius and Stanley Clarke were key figures in the history of the electric bass, and were influenced by traditional jazz music. In turn, they influenced the development of jazz and related styles such as fusion. Modern electric bass virtuosos such as Steve Bailey and Victor Wooten have effectively incorporated traditional jazz influences into their compositions and performances. Jazz and related styles of music continue to evolve, influenced by pedagogical practices and electric bass instruction in academic settings.
24
Roark, Jessica A. "History and technology : the creation of the Ball State Jazz Media Archive." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397649.
Full textAbstract:
This creative project details the process involved in the creation of the Ball State Jazz Media Archive. This archive will contain oral histories collected from individuals involved with the Ball State jazz program, photographs that are otherwise unavailable for study and other historical materials relevant to jazz at Ball State University. The historical significance and academic uses of such an archive have been described as well as a thorough overview of other major jazz media archives in the United States and other academic projects involving oral history. This project also includes the plans for future collection and population of the archive through the efforts of Sigma Alpha Iota, an international fraternity for women in music.Department of Telecommunications
25
Kteily-O'Sullivan, Laila Rose. "Klangfarben, Rhythmic Displacement, and Economy of Means: A Theoretical Study of the Works of Thelonious Monk." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501262/.
Full textAbstract:
The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The musical examples appear in transcription form, as some of them are unpublished. The topics are introduced in the first chapter, and individually addressed in subsequent chapters.
26
Simpson, Nigel. "Post-structuralism and history." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282616.
Full text
27
Eales, Alison Caroline. "Bunting and blues : a critical history of Glasgow International Jazz Festival, 1987-2015." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8026/.
Full textAbstract:
Glasgow International Jazz Festival first took place in 1987 and has run every year since, making it the city's longest-running cultural event. One of the company's stated aims at its inception was to 'establish [Glasgow] as a major European jazz centre' (Williams, 1986b). Through a single, historical case study, the thesis attempts first to ascertain the extent to which this aim has been achieved, and second to determine the enabling and limiting factors acting upon the Festival in its attempts to effect change in its host city. The thesis finds that urban music festivals can, under the right circumstances, contribute to positive and lasting changes to the environment in which they exist. In the case of Glasgow Jazz Festival, this is evident in terms of both the physical infrastructure and educational opportunities which would be unlikely to exist today had the Festival not been their champion. A festival's ability to effect such change, however, can be severely curtailed by fluctuating levels of commitment from local and national authorities.
28
Borrell, Moreno Lourdes. "Alfredo Papo Papo. Una vida dedicada al jazz. El jazz en Barcelona: de la posguerra a la actualidad." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671846.
Full textAbstract:
El objetivo de esta tesis es poner en valor la figura de Alfredo Papo y su actividad en la promoción y la divulgación del jazz en nuestro país, la evolución de su pensamiento a través de nuevos documentos recientemente encontrados en su casa y la recopilación de sus escritos y conferencias diseminados en diferentes revistas, catálogos, prólogos de libros y contraportadas de discos. Esta tesis aporta una nueva interpretación de la historia del jazz, que hizo posible que Barcelona fuera pionera en la música de jazz, posicionándose a nivel internacional. Todo esto no hubiera sido posible sin la figura de Alfredo Papo, su capacidad y dualidad como promotor de conciertos y divulgador de conceptos fueron esenciales para logarlo. Fue consciente de la necesidad de una estrategia divulgativa para promocionar el jazz en Barcelona. La organización de un concierto tenía que estar vinculada, a diferentes actividades, unas previas al concierto y otras posteriores, como las conferencias con audiciones, y artículos acompañados de una explicación, interpretación y un análisis de su contenido. Toda la documentación aportada en esta tesis y su análisis global, ayudará a tener una base sólida para la realización de futuros trabajos de investigación, junto a la donación de su fondo documental privado a la Biblioteca del CRAI, que va ligado a esta tesis doctoral.
Alfredo Papo como humanista tenía interés por la antropología, la cultura, la literatura, el arte, el cine, la poesía y teatro. Su mayor pasión fue la música de jazz a la que dedico toda su vida. Utilizó el jazz como herramienta de transmisión de conocimiento y transformación cultural y social.The goal of this thesis is to highlight Alfredo Papo and his activity in the promotion and dissemination of jazz in our country, the evolution of his thinking through documents recently found at his residence and the compilation of his writings and conferences disseminated in different magazines, catalogs, book prologues and disc back covers. This thesis provides a new interpretation of the history of jazz, which explain how was possible for Barcelona to be a pioneer in jazz music, positioning itself internationally. All this would not have been possible without the figure of Alfredo Papo, his ability and duality as promoter of concerts and disseminator of concepts were essential to achieve it. He was aware of the need of an informative strategy to promote jazz in Barcelona. The organization of a concert had to be linked to different activities, some prior to the concert and others later, such as conferences with auditions, and explanatory articles, interpretation and an analysis of concerts, musicians and different types of jazz. All the documentation provided in this thesis and its global analysis, will help to have a solid base for the realization of future research, this with the donation of the private documentary collection to the CRAI Library, which is linked to this doctoral thesis. Alfredo Papo as a humanist was interested in anthropology, culture, literature, art, cinema, poetry and theater. His greatest passion was jazz music to which he dedicated all his life. He used jazz as a tool to pass on knowledge and cultural and social transformation.
29
Calero, Ponce Pedro. "Contributos para a história e evolução do piano-jazz em Espanha." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/25607.
Full textAbstract:
Este proyeto de trabajo trata sobre la investigación cronológica en el proceso de incursión y evolución del piano-jazz en España a lo largo de la historia,desde los primeros propulsores y pianistas españoles del género hasta nuestros dias; así como de la importancia que esta evalución ha causado en la cultura y desarrollo artístico de los músicos y pianistas de jazz espanoles en la actualidad. Para conseguir este objetivo baso mi trabajo en la revisión e investigación bibliográfica y discográfica de los pianistas y músicos mas influyentes desde el origen del jazz en España hasta la actualidad, haciendo un análisis exhaustivo de lo pianistas de jazz españoles mas relevantes de la historia, con el objetivo principal de aportar una contribuición metódica y precisa sobre la historia y evolución del piano-jazz en España; Abstract: The present work project refers to the chronological research of the process of incursion and evolution of piano jazz in spain throughout history from the first spanish main drivers and pianists of the genre to our days; as well as to the importance of this evolution in the culture and artistic development of today´s spanish jazz pianists. In order to achieve this accomplishment, my work was based in the bibliographic and discographic review and research of the most influential pianist and musicians in Spain, since the origin of jazz to the present day, conducting an extensive analysis of the most relevant spanish jazz pianists of the history, aiming at offering a methodical and contribution on the evolution of piano jazz in Spain; Resumo: Este trabalho de projeto versa sobre a investigação cronológica do processo de incursão e evolução do piano jazz em Espanha no decurso da história, desde os primeiros propulsores e pianistas espanhois do referido género até à data presente; bem como sobre a influência que esta evolução manifestou na cultura e no desenvolvimento artístico dos músicos e pianistas de jazz espanhois da atualidade. Por conseguinte, o meu trabalho teve por base a revisão e investigação bibliográfica e discográfica dos pianistas e musicos mais preponderantes em Espanha, desde os primórdios do jazz até à atualidade, procedendo a uma análise exaustiva dos pianistas de jazz espanhois mais relevantes da história, com o objetivo primário de constituir um contributo minucioso e preciso sobre a história e evolução do piano jazz em Espanha
30
Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.
Full text
31
Riding, Christopher John Livsey. "The art criticism and history of Michael Fried." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272737.
Full text
32
Amley, Hollis Marie. "The Evolution of Criticism on Jean-François Millet." NCSU, 2005. http://www.lib.ncsu.edu/theses/available/etd-03282005-154529/.
Full textAbstract:
AMLEY, HOLLIS MARIE. The Evolution of Criticism on Jean-François Millet. (Under the direction of Keith Luria.) The nineteenth-century French painter Jean-François Millet?s social context, compositional style, and rustic subject matter invite a wide variety of interpretations of his art. To his biographer and contemporary Alfred Sensier, the rustic canvases were the work of a stoic ?peasant painter,? removed from the political controversies of his day. To the Marxist art historian T. J. Clark, on the other hand, Millet?s paintings interacted with and challenged the dominant values and institutions of the Second Republic. To the social art historian Robert Herbert, the paintings reveal the artist?s response to urban-industrial change and his Parisian exodus. In presenting these three formative readings of Millet?s canvases, this thesis demonstrates how each particular writer?s vantage point in history affected both his methodology and vision of the artist?s identity. The criticism on Millet shows not merely a series of antithetical, isolated opinions, but a kind of evolution, one that has gradually come to include both the artist and the society in which he worked.
33
McGeough, Tyler Joseph. "Swingin' to the Beat of Our Own Drum| Developing an Effective Jazz History Pedagogy." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785221.
Full textAbstract:
The purpose of this report is to provide insight on how and why we should include more cultural and historical context in a collegiate jazz education. The entry of jazz into academia raises a philosophical dilemma, as it represents an intersection of two contrasting cultures with different governing principles and cultural aesthetics. With the inclusion of jazz into academic institutions, it is possible that the cultural context and integrity of jazz has been marginalized. My aim for this report is to offer general recommendations to the field of jazz pedagogy with the ultimate purpose of better serving the music and the musicians who study it.
34
Layne, Valmont. "A history of dance and jazz band performance in the Western Cape in the post-1945 era." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/7853.
Full textAbstract:
Bibliography: leaves 173-184.This thesis considers aspects of jazz and dance band performance in Cape Town between the 1930s and the 1960s, with special reference to the post-1945 period. It examines ways in which local dance and jazz musicians and audiences responded to political, social and cultural change in this period by considering key institutional constraints, the impact of broader political, social and cultural change, and local responses to this change. Primary data was collected from oral biographical material, archives, official printed sources, and newspaper reports.
35
Ryan, Matthew. "Self, nation and novel in contemporary Irish writing." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5421.
Full text
36
Doughty, Craig. "Constructing a history from fragments : jazz and voice in Boston, Massachusetts circa 1919 to 1929." Thesis, Keele University, 2017. http://eprints.keele.ac.uk/3780/.
Full textAbstract:
Boston is a city steeped in history. Beyond the struggle for abolition, however, the historical experiences of the majority of black Bostonians, especially during the early twentieth-century, are lacking recognition. In this respect, the Jazz Age (represented here as circa 1919 – 1929) serves as a noteworthy case-in-point. For insofar as the impact of jazz music on social, political, and economic climates in cities such as New York, New Orleans, and even Kansas have been recorded, the music’s impact on and significance in Boston is yet to be addressed in any great detail. Simply put, the history of jazz in Boston, and with it an important period for black development in the city, exists in fragments such as discographies, newspaper listings, musical handbooks, potted witness accounts among others. Therefore, the principle aim of this thesis is to piece-together these fragments to form a mosaic history that reveals instances of black struggle, resistance, and progress during a period of heightened racial (Jim Crow segregation), political (the Red Scare), and economic tension. Essential to this process is not only the need to locate the voices of Boston’s black past, whether in text, testimony, sound and beyond, but also to create the conditions to hear them on their own terms. In order to achieve this, emphasis here is placed on tracing instances of voice, and as a by-product heritage, in musical form from the arrival of the first slaves to Boston in the first-half of the seventeenth century and analysing the ways in which these voices were perpetuated through methods of adaptation, appropriation, and evolution. This approach would ultimately assist in enriching the Jazz Age with a black art form that was not only unique but a distinct form of expression for a race lacking a significant voice in America at the time. In this respect, this thesis looks at the ways in which homegrown Boston musicians, such as Johnny Hodges and Harry Carney, and frequenting players, such as Duke Ellington, used jazz music as a way to oppose standard forms of white dominance, cultural elitism, and economic subjugation.
37
Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.
Full textAbstract:
This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
38
Schillinger, Stephen. "Common representations : Jack Straw and literary history as cultural history on the early modern stage /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.
Full text
39
Audard, Stéphane. "histoire de l'enseignement du jazz : enjeux pédagogiques, théoriques et musicaux." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL043.
Full textAbstract:
Le jazz est largement enseigné depuis des décennies et dans de nombreux pays. Cependant, l'histoire de la mise en place de cet enseignement reste largement à faire. Afin de mieux comprendre le moment d'institutionnalisation qui s'est opéré après la Seconde Guerre mondiale, il est nécessaire de déterminer comment il s'articule avec les périodes précédentes. Tout d'abord, il s'agit de retracer le développement continu d'une pédagogie du jazz dès les premières décennies du XXe siècle. D'autre part, il faut préciser les enjeux musicaux, économiques et institutionnels qui influent sur la création des premiers cursus et écoles de jazz. Enfin, c'est sur l'objet même de cet enseignement qu'il convient de s'interroger.La Théorie des musiques audiotactiles permet d'envisager sous un angle nouveau un certain nombre de questions musicales et pédagogiques. Elle est mobilisée dans cette recherche pour analyser les choix qui ont été faits par les premiers enseignants, concernant les pratiques musicales et l'élaboration théorique. Au sens de la Théorie des musiques audiotactiles, l'institutionnalisation de l'enseignement du jazz induit un processus de modification de la formativité de cette musique, qui tend progressivement vers un régime d'écriture. L'objet de cette recherche est d'analyser ce basculementJazz has been widely taught for decades in many countries. However, the history of how this teaching system came into being remains largely untold. To better understand the moment of institutionalization that took place after the Second World War, it is necessary to determine how it relates to previous periods. First, we need to trace the ongoing development of jazz pedagogy from the first decades of the twentieth century onwards. Secondly, we need to clarify the musical, economic and institutional issues that influenced the creation of the first jazz curricula and schools. Finally, we need to examine the actual object of this teaching.The Theory of audiotactile music offers a new perspective on a number of musical and pedagogical issues. It is mobilized in this research to analyze the choices made by the first teachers, concerning musical practices and theoretical elaboration. In the sense of the Theory of audiotactile music, the institutionalization of jazz education led to a process of modification of the formativity of this music, which gradually tended towards a regime of writing music. The purpose of this research is to analyze this shift
40
Waits, Sarah A. ""Listen to the Wild Discord": Jazz in the Chicago Defender and the Louisiana Weekly, 1925-1929." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1676.
Full textAbstract:
This essay will use the views of two African American newspaper columnists, E. Belfield Spriggins of the Louisiana Weekly and Dave Peyton of the Chicago Defender, to argue that though New Orleans and Chicago both occupied a primary place in the history of jazz, in many ways jazz was initially met with ambivalence and suspicion. The struggle between the desire to highlight black achievement in music and the effort to adhere to tenets of middle class respectability play out in their columns. Despite historiographical writings to the contrary, these issues of the influence of jazz music on society were not limited to the white community. Tracing these columnists through the years of 1925-1929, a critical point in the popularity of jazz, reveals how considerations of black innovation and economic autonomy helped alter their opinions from criticism to ownership.
41
Wallis, Lesley Ann. "History, politics and tradition : a study of the history workshop 1956-1979." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369414.
Full text
42
Ruiz, Renan Branco. "'Procura-se Mecenas' : música independente e indústria fonográfica na trajetória artística do Grupo Um (1976 -1984) /." Franca, 2017. http://hdl.handle.net/11449/151560.
Full textAbstract:
Orientador: José Adriano FenerickBanca: Gustavo José de Toledo Pedroso
Banca: Marcia Regina Tosta Dias
Resumo: Esta dissertação teve como objetivo reconstruir e analisar a trajetória artística do Grupo Um (1976 - 1984) a partir de duas perspectivas complementares. Pela primeira delas, foram interpretados os impasses encontrados pelo conjunto para possibilitar a gravação, a prensagem e a distribuição de seus três álbuns lançados entre 1979 e 1982, à luz das intensas transformações da indústria fonográfica brasileira desse período. Na busca por apoio para a viabilização de seus trabalhos, os integrantes do conjunto potencializaram a retórica de produção musical independente, que ganhava força nesse mesmo período. Mantiveram, também, intensas aproximações com o Centro de Promoções Artísticas Lira Paulistana, e uma relação nuançada com a construção da ideia de vanguarda paulista. A segunda perspectiva de análise recai sobre as proximidades e distanciamentos entre a música produzida pelo Grupo Um e a fricção de musicalidades presente no jazz brasileiro. Para tanto, foi realizado um panorama da evolução jazzística durante o século XX, situando o cenário da virada dos anos 1970 para os anos 1980 no Brasil e no mundo. Além disso, alguns aspectos da obra discográfica do conjunto foram assinalados no intuito de refletir e discorrer sobre os possíveis sentidos de sua utilização naquele momento, a partir dos elos com o estilo fusion de jazz.
Abstract: This dissertacion intended to rebuild and to analyse the artistic trajectory of the ensemble Grupo Um (1976 - 1984) following two complementary perspectives. The first one has interpreted the standoffs founded by the group in order to make it viable the recording, pressing and selling, of its three albuns between 1979 and 1982, surrounded by the intense transformation of the brazilian phonographic industry at the time. At the searching for supporting to make it viable, they have potentialized the rhetorics of independent musical production, that was gaining force at the same period. They manteined, also, intense aproximations with the Centro de Promoções Artísticas Lira Paulistana and nuances with the construction of the very idea of the vanguarda paulista. The second perspective of analyses lies in the approximation and distancing of the music produced by Grupo Um and the friction of musicalities that were present in the brazilian jazz. Therefore, a panoram of the jazz evolution in the 20th century was made, situating the turning point scenario of the 1970's in Brazil and in the world. Besides that, some aspects of the ensemble discography are pointed out in the will to reflect and punctuate about its possible meanings of utilisation at that moment, regardening its ties with the jazz fusion style.
Mestre
43
Archibald, Paul. "Construction of, and performance on, the early drum kit." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/29632.
Full textAbstract:
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.
44
何倬榮 and Cheuk-wing Ho. "Engendering children: from folk tales to fairy tales." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227363.
Full text
45
Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.
Full textAbstract:
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, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.
46
Montaña, Maya Joaquín de la. "Iniciación en la improvisación y creatividad en el jazz." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/18296.
Full textAbstract:
Este Trabajo de Proyecto esta constituido por dos partes diferenciadas. La primera trata sobre la descripción de la improvisación y la creatividad a lo largo de la historia de la música y su evolución hasta nuestros tiempos, siendo este trabajo una propuesta de modelos sobre la improvisación y la creatividad dentro del jazz, desde un nivel de iniciación a un grado avanzado. La segunda parte engloba los aspectos psicológicos que afectan a los músicos iniciantes en la actividad improvisadora y creadora, tratando de proporcionar las herramientas necesarias para la superación de los miedos y barreras psicológicas a las que nos enfrentamos cuando comenzamos a adentrarnos en esta área, para muchos músicos desconocida;
ABSTRACT: This project consists of two main and different ideas.The first one is a description of improvisation and creativity along music's history and its evolution up to the present time, being this work is a proposal of models on the improvisation and the creativity inside the jazz, from a level of initiation to a degree advanced The second idea gathers all the psychological aspects related to all the musicians who start venturing into the improvisational and creational aspect of music, with the purpose to offer a number of tools necessary to overcome fear and any psychological restraints we might encounter when we begin to enter a field of study such as this one, for many musicians unknown; RESUMO:
O presente Projeto está constituído por duas partes diferenciadas. A primeira trata sobre a descrição da improvisação e a criatividade ao longo da história da música, bem como a sua evolução até aos nossos dias, sendo este trabalho uma proposta de modelos sobre a improvisação e a criatividade dentro do jazz, desde um nível de iniciação a um grau avançado. A segunda parte engloba os aspetos psicológicos que afetam os músicos iniciantes na atividade improvisadora e criadora, facilitando uma proposta de ferramentas necessárias para a superação do medo e barreiras psicológicas às quais nos enfrentamos quando começamos a entrar nesta área, para muitos músicos desconhecida.
47
Haddad, Ziyad Salem. "The Jordanian contemporary art criticism : a methodological analysis of critical practices /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487588939088645.
Full text
48
Charlesworth, J. J. "Art criticism : the mediation of art in Britain 1968-76." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.
Full textAbstract:
This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication venues for art-critical writing of the time, and their responses to the rapidly changing scene of artistic production. It examines the forms of writing that attended emerging artistic practice and the theoretical and critical assumptions on which that writing depended, highlighting those moments where critical discourse was provoked to reflect self-consciously of the relation between discourse and artistic practice. By tracing the repercussions of the cultural and political revolts of the late 1960s, it examines how the orthodoxies of art criticism came to be challenged, in the first instance, by the growing influence of radical artistic practices which incorporated a discursive function, and by leftist social critiques of art. It explores how, in the first half of the 1970s, radical and political artistic practice was promoted by a number of young critics, and sanctioned by its presentation in public art venues. Examining the history of magazines such as Studio International and a number of smaller specialist and non-specialist magazines such as the feminist Spare Rib and the left-wing independent press, it attends to how debates over the cultural and social agency of art began to draw on continental theoretical influences that put into greater question the role of subjective experience and the nature of the human subject. It examines how this shift in the relation between practice and discourse manifested itself in the editorial and critical attitudes of publications both from within the field of artistic culture, and from a wider context of publications embedded in the radical political and social currents of the early 1970s. It gives particular attention to the careers of a number of prominent critics, while situating the later reaction against alternative artistic practices in the context of the politically conservative turn of the end of the decade.
49
Hart, Sally. "Derrida and postmodernity : at the end(s) of history." Thesis, University of Chichester, 2007. http://eprints.chi.ac.uk/836/.
Full textAbstract:
This thesis erects and defends the proposition that Jacques Derrida's readings of 'metaphysics in deconstruction' and his raising to theoretical consciousness of the 'differential matrix', have the capacity to inaugurate a 'brave new world' in this postmodern 'age of the aporia'. Beginning with an examination of Derrida's readings of Husserl and Saussure, it is argued that the radical historicity uncovered here qua an originary synthesis of language, time and the other, opens the possibility for greatly more democratising and emancipating self-creations and human solidarities to be thought. In terms of 'self-creations', and borrowing from the work of Elizabeth Deeds Errnarth, Chapter Two follows Derrida as modernity's sovereign subject and its 'History' are dis-placed by an absolutely affirmative postmodern subjectivity whose axiom might be 'I inherit, therefore, I am ... yes, yes ... ' Construed through his deconstructive reading of Kant, Derrida shows the way in which this postmodern subjectivity without alibi, makes of us all (like it or not, know it or not) resistance fighters, so many singularities existing in constant tension with all normalising/totalising tendencies (social, economic, techno-scientific, political, legal etc ... ) which profess to know the secret. Turning to co-extensive 'human solidarities', Chapter Three subsequently demonstrates the way in which Derrida's call for a 'New International', orientated through a 'new figure of Europe', enables us to imagine new polysemic communities (local, national, international) founded on the 'aporia of the demos', a 'foundation' that construes its hyper-relativity as a positive (ethico-political) condition of decision in terms of a radical responsibility (on an individual and communal level) for the moral/aesthetic decisions we make. It is thus that I will argue that Derrida's vision for a 'new world order' is born out of an aporetic condition which is both a risk and a chance of both the best - and the worst - happening; as someone who shares Derrida's desire for a fairer, freer, more peaceful world, one respectful of difference and otherness, I believe this to be a 'poker like gamble' well worth taking. Chapter Four offers a comparative analysis between the work of Jacques Derrida and Jean Baudrillard, two theorists counter-signing differently many of the 'same' discourses/ traditions/cultures/languages, etc ... to which they are both heirs. The chapter examines their respective 'quasi-philosophies of the limit', together with their differing conceptions of the issues surrounding globalisation and universalisation, as well as Baudrillard' s elevation of America (as opposed to Europe) as the exemplary site of resistance against the dangers of totalisation in 'postmodem' societies. The central argument here, in line with my previous remarks, is that Derrida's thought arguably remains 'the best' way to navigate the postmodem condition and the challenges it produces. The originality of this thesis lies in two main areas, the first having to do with my presentation and conception of Derrida's oeuvre and the second having to do with the comparisons made in this study between Derrida and Ermarth and Derrida and Baudrillard. In terms of the former, I offer what I consider to be a unique, sustained, in-depth analysis of the 'development' (on a theoretical and practical level) of the thematics of 'radical historicity' and of 'post-historical man' - effectively the development of Derrida's quasi-philosophy of history- from his earliest works so that they can be seen to inform his later intervention(s) in what are conventionally understood as ethical and political matters; transforming this understanding in the process and, after the end of history's ends (upper case, lower case and the totalising 'history of meaning' per se), quite literally and radically changing the way we see what we call 'the world'. For while in the conventional literature Derrida's politics come late, I argue here that his indeed later political work is but an emphasis of constant political thematics acting as a leitmotif from beginning to end. Turning to the latter, in terms of the comparisons I make - first between Derrida and Ermarth in Chapter Two and more especially between Derrida and Baudrillard in Chapter Four - the claim to originality lies in the fact that there is no comparison of any note or depth in the literature between these thinkers; nothing that compares Derrida's 'affirmative postmodem subjectivity' and its 'inheritance' with Ermarth's 'rhythmic time' and 'muIti-level consciousness', and nothing comparing Derrida's corpus - specifically his optimistic emancipating and democratizing hopes for the future - with Baudrillard's more pessimistic conceptualization of 'simulation society' and the loss of our European universal values under the hegemonic, globalising movement of the 'American model'. The aim of these two comparisons is to support my claim that Derrida's historico-political position is the 'best' way of essaying the quasi-ground of an in(different) politics in such a way that it keeps the future open to what he calls a 'better world' to come, a world without ends.
50
Siviter, Clare. "Rewriting history through the performance of tragedy, 1799-1815." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87637/.
Full textAbstract:
This thesis constitutes the first extensive study of tragedy during the Napoleonic era. The new tragic productions of this period have been sidelined by French theatre history, allegedly because they were tired copies of seventeenth-century classical models, conduits for propaganda, and suffocated by censorship. I challenge this judgement by excavating this period’s theatre and by applying renewed critical approaches, notably André Lefevere’s notion of rewriting which posits that all productions are subject to poetics and ideology. This thesis is comprised of two principal axes. The first focuses on poetics to contend that new productions were not simply copies of classical plays. Although tragedy was based on the imitation of seventeenth-century models, which scholars refer to as classiques, these examples were rewritten during the eighteenth century, an activity which continued under Napoleon. Therefore, there was no stable example to imitate, rather there was a particular contemporary understanding, which I label the ‘classique’ model to underline its specificity. Using contemporary treatises to form a generic framework, I examine how new tragedies performed at the Comédie-Française depart from this inheritance, reconsidering the passage from theatrical Classicism to Romanticism. The second axis engages with Napoleonic cultural politics by rethinking the terms ‘propaganda’ and ‘censorship’. Although tragedy was used for its propagandistic properties, this policy was not always successful. Moreover, the works’ reception reveals that playwrights and the public appropriated tragedy’s rewriting of historical narratives as a means of mediating the Revolution. Finally, I examine censorship, investigating how the State’s bureaucratic and the Comédie-Française’s lateral systems combined to control and tailor tragedies in performance and print for contemporary audiences. Consequently, this thesis sheds light both on the transition from Classicism to Romanticism in the theatre, and the public and the regime’s use of tragedy as a means of reconstructing the French nation after the Revolution.