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Williams, Katherine A. "Valuing jazz : cross-cultural comparisons of the classical influence in jazz." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12622/.
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‘Valuing Jazz: Cross-cultural Comparisons of the Classical Influence in Jazz’ re-examines the interaction of Western classical music and jazz, focussing particularly on developments in North America and Britain in the twentieth century. This dissertation acknowledges and builds on the existing connections that have been drawn between classical music and jazz—both those that underscore the musical differences between the two idioms in order to discredit the latter, and those that acknowledge similarities in order to claim cultural legitimacy for jazz. These existing studies almost universally use outdated evaluative criteria, and I seek to redress this by using contemporary classical-music practices and discourses as my point of reference. By adopting a range of methodologies to investigate both intra- and extra-musical trends, this dissertation offers a thorough and balanced exploration of the topic. Each chosen avenue for exploration is explained with reference to parallel developments in North America, in order to provide a context within accepted jazz history and to highlight the different ways in which jazz developed in Britain. The phenomena under consideration include the emergence of a school of jazz criticism and scholarship that adopted systems of analysis and evaluation from established studies of classical music (Ch. 1); physical characteristics of jazz performance venues and the changing styles of audience reception within (Ch. 2); the adoption by jazz composers of ideologies and musical features from classical repertoire (Ch. 3); and the development of educational establishments and pedagogical systems that mirrored those already present in the classical-music world (Ch. 4). Although by no means exhaustive, these chapter topics provide a range of jazz narratives that provide a clear picture of the degree to which the development of jazz in America and Britain has been conditioned by the practices and characteristics of classical music.
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Gay, Fernández Carlos. "Jazz influence on classical clarinet : Analysis and identification of jazz elements in classical clarinet repertoire in the 20th century." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2384.
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This thesis is about jazz influence on classical clarinet repertoire, focusing on analysis and identification of all the jazz elements that run through this style into classical music. It also wants to describe the huge change of way of playing noticeable in the Swing Era in relation to the classical way.In the first part of the thesis I describe the birth of jazz and the political, historical and musical situation in the West, to understand the process in which they got blended. After that I identify and classify jazzy elements in classical music, analyzing in depth the repertoire of my exam-concert, which is strongly influenced by this style, and in a more superficial way other influenced classical clarinet works as well. I show in the very last part of the thesis how this influence is reflected, classifying these elements in harmonic, melodic, written and rhythmical ones.
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Keene, Joel Andrew. "The Influence of Jazz Harmony and Jazz Style on Selected Bass Trombone Solo Literature." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/351.
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The development of solo literature for the bass trombone came relatively late in the history of instruments. Though the development of solo literature for this instrument and the birth and development of jazz occurring at the same time in history may be coincidental, the influence of one on the other is undeniable. Because of the large percentage of solo bass trombone literature that is influenced by jazz due to this coincidence, it is necessary that even a classically trained bass trombonist include jazz as a part of the study curriculum. In order to exemplify the influences of jazz harmony and jazz style on bass trombone literature, it was decided that the pieces chosen would be either from the library of standard bass trombone literature or would be an outstanding example for this topic. Then, the stylistic influences must be proved as being derived from the jazz idiom. The same must be shown true for any jazz harmonies discussed. For this topic, the following pieces were chosen: Eugène Bozza's New Orleans composed in 1962, Alec Wilder's Sonata for Bass Trombone and Piano composed in 1969, and Daniel Schnyder's subZERO: Concerto for Bass Trombone and Orchestra composed in 1999.
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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/.
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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.
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Tournès, Ludovic. "Jazz en france (1944-1963) : histoire d'une acculturation a l'epoque contemporaine." Versailles-St Quentin en Yvelines, 1997. http://www.theses.fr/1997VERS1002.
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Ce travail decrit l'histoire de la penetration du jazz en france et analyse les facteurs qui ont aboutit a son integration dans le paysage culturel hexagonal, concretise notamment par l'apparition de musiciens de jazz francais de renommee internationale des le milieu des annees cinquante. Il montre comment le noyau d'amateurs puristes qui s'est forme dans les annees trente joue un role majeur dans ce processus d'acculturation, identifiant cette musique comme un objet esthetique original (la "musique noire americaine") digne d'interet, et organisant sa diffusion en france, diffusion qui comprend aussi bien l'organisation de concerts avec des musiciens americains que l'enregistrement de disques, ainsi que l'investissement des medias (presse, radio, television) afin de faire connaitre cette nouvelle forme d'art au grand public. Des le milieu des annees cinquante, cette entreprise est sur la voie de la reussite, comme le montre la frequentation des concerts dont le public se compte en dizaines et meme en centaines de milliers, si l'on y inclut le nombre de concerts de jazz prenant place dans les spectacles de music-hall, genre en pleine renaissance au cours des annees cinquante et qui constitue un des agents majeurs de la popularisation - dans tous les sens du terme - du jazz dans la societe francaise, a la fois parce qu'il draine un public nombreux mais aussi parce qu'il est le lieu de rencontre entre le jazz et la musique de variete francaise. Celle-ci va etre renouvelee de fond en comble au cours des annees cinquante par la musique venue des etats-unis, contribuant a une diffusion en profondeur des sonorites du jazz dans le paysage culturel hexagonal. Le processus d'acculturation est en outre replace dans le contexte politique, economique, social et religieux de la france contemporaine, montrant notamment les fondements ideologiques des divers discours sur le jazz et leur traduction sur les formes de sociabilites d'amateurs, sur la gestion de sa diffusion, ainsi que sur l'attitude des amateurs par rapport aux musiciens francais qui emergent sur la scene culturelle a partir de la fin des annees quarante et vont longtemps se heurter a un racisme a rebours de la part du public, avant qu'un timide mouvement de reconnaissance ne se manifeste a la fin des annees cinquanteThis work describes the history of the arrival of jazz in france and its acculturation there resulting in the apparition of a number of famous french jazz musicians in the 1950's. It shows how a group of "jazz addicts" born in the 1930's has played an important part in this process, by considering jazz as an original art (the "negro american music"), writing books about it, organizing a lot of concerts with american musicians, and by using the mass media (press, radio, television) in order to make this new music known by the french public. In the middle of the 1950's, this entreprise has succeeded, as shown by the hundreds of thousands of spectators of jazz concerts. Many of these concerts are part of music-hall shows, which are very popular in france in this period and, for this reason, are an important agent of the popularisation of jazz in france, especially because they enable an encounter between jazz and french songs, which are completely renewed by jazz after world war ii. This encounter enables the penetration of jazz sounds in the french culture. Moreover, the process of acculturation has to be replaced in the political, economical, sociological and religious context of contemporary france, since this thesis shows the ideological roots of jazz critique and its influence on the social history of the "jazz addicts", on the forms of its diffusion in france and on the attitude of the french public toward french musicians
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Betzer, Jennifer. "The Innovation and Influence of Jazz Harpist Dorothy Ashby (1932-1986)." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703423/.
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A comparative analysis of the musical transcriptions of Dorothy Ashby with those of her predecessors proves that Ashby was a uniquely powerful and innovative influence on the genre of jazz harp. This dissertation begins with a summative biography of Ashby, following her education in both jazz and classical music through to her career highlights as a performer, arranger and composer. An analysis of Ashby's recordings reveals the development of her groundbreaking musical style throughout her life. This paper also examines Ashby's social activism through musical theatre, especially with regards to combating racism. Next, a brief biography of jazz harp forerunners Casper Reardon and Adele Girard precedes a comparative analysis of Reardon's "Aint' Misbehavin" with Ashby's "Soft Winds" and a comparative analysis of Girard's "Harp Boogie" with Ashby's "Blues for Mr. K." Finally, myriad examples of current musicians covering and sampling her work confirm the paramount and lasting influence of Dorothy Ashby's music.
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Stiegler, Morgen. "African experience on American shores influence of Native American contact on the development of jazz /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1244856703.
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Dovel, Jason. "The influence of jazz on the solo trumpet compositions of Eugène Bozza." Recital, recorded Apr. 17, 2006, in digital collections. Access restricted to the University of North Texas campus. Recital, recorded Oct. 16, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5186.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 17, 2006, Oct. 16, 2006, Feb. 26, 2007, and Oct. 22, 2007. Includes bibliographical references (p. 56-58).
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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.
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Dovel, Jason. "The Influence of Jazz on the Solo Trumpet Compositions of Eugène Bozza." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5186/.
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This paper investigates the influence of jazz on the nine solo trumpet compositions of the French composer Eugène Bozza (1905-1991). Bozza, like many other French composers in the first half of the 20th century, combines traditional elements of western European art music with innovations of American popular music. While Bozza holds a prominent role as a composer of solo trumpet literature in the mid-20th century, little has been written about the influence of jazz in his works. This paper traces the influences of American jazz upon French composers and analyzes the elements of jazz within Bozza's compositions for solo trumpet by comparing them to conventions employed by jazz composers.
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Genty, Pierre. "Les successeurs de Lester Willis Young : étude des rapports archétypaux de 1935 à 1955." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040050.
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Ce travail porte sur les rapports esthétiques entre Lester Young, saxophoniste ténor de jazz, et ses successeurs, sur la période 1935-1955. Il s’agit, en analysant les différents processus, procédés et figures qui déterminent Lester Young comme archétype, de définir comment celui-ci a agi sur ses contemporains et sur les courants du jazz. S’interrogeant sur les notions d’influence et de modélisation, l’ouvrage se veut aussi une réflexion plus générale sur les processus de continuité et de retour dans l’histoire esthétiqueThis study is about the aesthetic links between jazz tenor saxophonist Lester Young and his successors, from 1935 to 1955. By analysing the different processes, ways and figures which determine Lester Young as an archetype, this work attempts to define which effects Young had upon his contemporaries and the various jazz movements. By focusing on the notions of influence and modelling, this thesis is also more generally a reflection about the processes of continuity and return in aesthetic history
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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.
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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.
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Thies, Tamara Tanya. "Affective learning experiences influence positive interactions with anxiety: comprehensive musicianship with seventh grade jazz students." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1406.
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The purpose of this qualitative case study was to provide insight into affective learning during seventh-grade students' early experiences of improvising and spontaneously creating melodies in jazz style. As data collection progressed, the instructor's focus of engaging students to learn improvisation through anxiety-based affective strategies became the transforming factor of this qualitative study. Subsequently, the overarching research question evolved into: What is the nature of affective teaching and learning during students' early experiences of improvising and spontaneously creating melodies in jazz style, where the instructor intentionally incorporates affective learning experiences using Wisconsin's Comprehensive Musicianship through Performance model? Supplementary research questions included: (a) How does the teacher navigate teaching and learning experiences that target anxiety during the process of learning to improvise in the jazz band rehearsal? (b) How do the students engage with the instructor's targeted teaching strategies in the jazz band setting? (c) How do the students perceive the implementation of teaching and learning experiences created by the teacher?
The seventh-grade jazz band director and six seventh-grade jazz students (three girls and three boys with one set of triplets) from a Midwest middle school music program participated. Data collection occurred during the 2011 - 2012 school year. Data included three semi-structured interviews, rehearsal observations over four months, and the instructor's Comprehensive Musicianship through Performance (CMP) teaching plan.
Using MacIntyre, Potter, and Burns' (2012) socio-educational model for music motivation, an adaptation of Robert Gardner's socio-educational model of motivation in second language acquisition, I applied the model's categories--(a) anxiety, (b) integrativeness, (c) attitudes toward the learning situation, (d) motivation, and (e) perceived competence--to my data. Because MacIntyre, et al. (2012) identified anxiety as an outcome that significantly and negatively predicted perceived competence through their quantitative study, I analyzed the instructor's teaching and learning strategies that targeted anxiety and the students' perceptions of their own anxiety while learning to solo improvise.
The findings in this study revealed how an instructor integrated anxiety-inducing experiences in a manner that positively influenced student motivation. The progression began with game-like solo improvisation experiences and developed into unanticipated improvised solos assigned by the instructor. By incorporating teaching and learning strategies that incrementally increased anxiety within the learning situation context, anxiety as a negative outcome (MacIntyre's et al., 2012) transformed into positive experiences. The students gradually became comfortable with the emotion of anxiety, began to take risks and, ultimately, developed more interest to continue learning and improvising.
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Stiegler, Morgen Leigh. "African Experience on American Shores: Influence of Native American Contact on the Development of Jazz." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1244856703.
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Vincs, Robert, and robert vincs@deakin edu au. "African heart, eastern mind: the transcendent experience through improvised music." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.121703.
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Cotton, André. "Virtuosité des pianistes de jazz américains, de Jelly Roll Morton à Brad Mehldau : histoire parallèle et héritage du Romantisme européen." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2071/document.
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L’objectif de cette thèse est de s’interroger sur la prégnance éventuelle de paradigmes romantiques chez les pianistes improvisateurs solistes issus du jazz. Du modèle de la virtuosité soliste au style et plus généralement à l’esprit romantique,est-il possible de déceler, chez eux, une part d’héritage assumée ou non ? Concernant des pianistes aussi différents que les virtuoses de la musique savante romantique du XIXe siècle en Europe et les pianistes de jazz américains du siècle suivant, le terme d’héritage pourrait sembler inadapté voire abusif. Or il ne faut pas sous-estimer l’apport de la musique savante écrite aux musiques improvisées, en particulier dans le domaine pianistique. Tous les pianistes improvisateurs se sont plus ou moins trouvés confrontés à des pages extraites des répertoires classique, romantique ou contemporain, tout au moins pendant leurs études pianistiques qui pour certains, ont été extrêmement approfondies. Peut-on discerner dans le jeu de certains virtuoses les influences des deux grands génies romantiques au caractère si différent que furent Chopin l’intimiste et Liszt l’extraverti au travers de cette virtus latine reliant habileté et transcendance, apanage du héros prométhéen qui vole le feu pour l’offrir à l’humanité ? La musique improvisée est fréquemment une entité de partage, le récital de soliste restant l’exception. C’est à l’occasion de ce moment privilégié que les rares élus, dont la relation à l’instrument sur lequel ils jouent est à chaque fois nouvelle, accèdent au statut de héros en valorisant énergie, action et savoir humain. De Jelly Roll Morton, autoproclamé « inventeur » du jazz à l’improvisation totale de l’ère post-bop, en passant par les pianistes de stride et Art Tatum, la représentation du romantisme revêt des aspects protéiformes allant de l’émancipation des aspects fonctionnels liés à la danse aux préoccupations programmatiques d’un Brad Mehldau se remémorant SchumannThe aim of this thesis is to question the possible impact of romantic paradigms for soloist improviser pianists coming from the jazz scene. From the soloist virtuosity to the style and more generally to the romantic spirit, is it possible to find in their work a certain heritage, whether it is overtly admitted or not? However, 19th century classical music virtuosi and jazz pianists from the following century are so different that it seems natural to wonder whether the word ‘heritage’ is the proper one to use. Yet, the contribution of written classical music to improvised music pieces shouldn’t be overlooked, especially when examining thepianistic domain. Every improviser pianists have been faced with pieces from the classical, romantic or contemporary repertoire to some extent, at the very least during their piano studies which, for some of them, were extremely advanced. Through the Latin virtus connecting dexterity and transcendence – the prerogative of the Promethean hero stealing fire as a present for humanity - could it be possible to find in the playing of certain virtuosi the influence of the two great romantic geniuses, Chopin the intimist and Liszt the extrovert, whose characters were so different? Improvised music is frequently a moment of sharing (soloists’ recitals being the exception) and it is the moment when a few chosen ones can reach the status of heroes, emphasizing energy, action and human knowledge. From Jelly Roll Morton, self-proclaimed “inventor” of jazz music, the stride pianists and Art Tatum,to the complete improvisation of the post-bop era, romanticism is represented through many different protean aspects such as the emancipation of functional aspects connected to dance or again the programmatic concerns of a certain Brad Mehldau, reminiscing about Schumann
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Bauer, Lisa. "Holistic influence on contemporary jazz vocal improvisation with reference to the works of Gloria Cooper and Kitty Margolis." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10144.
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Through the analysis of aspects such as experience, vocal expression, improvisatory techniques and teaching approach of two jazz vocalists from different social, educational and musical backgrounds in the United States of America, the hope is to achieve a greater understanding of and confirm the factors which play important roles in the vocalist's improvement of effective, authentic jazz improvisation. The focus is on the effect which experience, mentors and musical training have on the two vocalists' approach to teaching and performing jazz styles. This study also investigates the possibility that emotional, educational and physiological factors holistically influence the contemporary jazz vocalist's experience of using the body as a medium of expression via production of sound from the vocal chords.
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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.
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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.
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Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/101.
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This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of Blacks in America as the sole theme.
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Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2018. http://digitalcommons.auctr.edu/cauetds/142.
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This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme.
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Whalen, Kevin Patrick. "Harold Shapero’s Sonata for C Trumpet and Piano: the Influence of Idiomatic Jazz Elements on a Prominent Mid-20th Century Neo-classical Composer." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500207/.
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Harold Shapero’s Sonata for Trumpet in C and Piano is a significant work that it is rarely performed and studied. Shapero’s composition contains musical attributes that demand artistically accurate choices if the style of this jazz-influenced sonata is to be achieved. Written in 1940 in dedication to Aaron Copland, the Sonata for C Trumpet and Piano makes use of a variety of stylistic influences, blending those of early 20th century jazz with Stravinsky-influenced neo-classicism. The intent of this study is to examine the unique performance practice implications and musical considerations of Harold Shapero’s Sonata for C Trumpet and Piano in correlation to the composer’s implementation of jazz idiomatic elements within the constructs of neo-classicism. The first section of this study examines the historical context necessary for understanding the social and musical conditions of the early to mid 1940s. The second section addresses the musical elements that characterize this work; the primary focus of this section is an exploration of Harold Shapero’s implementation of jazz idioms into his first composition for trumpet. The final section of the study interprets the utilization of idiomatic jazz elements within the work so as to allow the trumpet player with little jazz experience to accurately perform the piece.
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Gallot, Simon. "György Ligeti : populaire et savant : aux origines du style." Lyon 2, 2005. http://theses.univ-lyon2.fr/documents/lyon2/2005/gallot_s.
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György Ligeti est considéré aujourd'hui comme l'un des plus grands compositeurs de la seconde moitié du XXe siècle. Pourtant, une partie importante de sa production demeure méconnue. Grâce à de nouvelles sources, concernant en particulier la période hongroise de création, l'évolution stylistique apparaît sous un autre jour ; le point de vue envisagé dans cette étude permet de reconsidérer l'œuvre entier. La notion de populaire y est envisagée selon ses diverses acceptions, que l'on s'attache à déceler les influences des musiques populaires, à déterminer les aspects liés à la popularité du compositeur, ou encore à commenter certaines tendances populistes à une époque bien précise. Une première partie, introductive, regroupe un essai monographique sur les années hongroises et un état des lieux du corpus. La seconde partie envisage l'importance de la Hongrie (et plus largement de l'Europe centrale) dans la production. Elle met également en évidence la filiation avec Béla Bartók et propose une traduction des poèmes hongrois mis en musique. Une troisième partie tente d'abord de mettre en relation l'œuvre avec certains éléments biographiques. Les années qui précèdent l'arrivée en Europe de l'Ouest sont ensuite l'occasion de revenir sur une période où la recherche d'un style personnel conduisit le compositeur à mettre en balance les points de vue de Bartók et de Schœnberg. Enfin, l'influence des musiques du monde mais aussi du jazz ou des autres formes de musiques populaires sont soumises à examen. Un important travail de collecte et de traduction tient lieu d'annexes : on y trouvera par exemple un catalogue détaillé des œuvres ainsi que la traduction d'articles du compositeur sur la musique populaireGyörgy Ligeti is nowadays perceived as one of the most important composer of the second half of the 20th century. However, most of his production remains unrecognized. Thanks to new elements, including among others the Hungarian period of his creation, the evolutioon of a style is given a new light. The adoption of a new point of view for this study allows us to reconsider the entire works. We shall focus on the concept of popular and its varied meanings, such as the influence of different forms of popular music, the aspects of the composer's popularity, or the existence of some populiste inclinations at a certain time. A first introductory part both includes a monograph of the Hungarian years and an inventory of fixtures of the corpus. The second part focuses on the prominence of Hungary and Central Europe in his production. This same part points the filiation with Béla Bartók and give a translation of the musical Hungarian poems. The third part first attempts to match Ligeti's work with some biographical elements. Then, the years preceeding his arrival in West Europe give us the opportunity to get back to a certain period when the research of a personnal style led the composer to balance Bartók's and Schœnberg's views. Eventually, the influence of folk music, jazz music and others popular music shall be discussed. A major work of collecting and translating is to be found in the annex ; an exhaustive catalogue of works or the translation of the composer's folk music based articles are a few examples
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Helsley, Jack. "The Evolution of the Improvisational Vocabulary of Marc Johnson." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849710/.
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This study examines the evolution of the improvisational vocabulary utilized by bassist Marc Johnson over the course of his career. Through interviews and musical analysis the study contextualizes Johnson’s musical influences, considers how they shaped his development, and examines his role in the legacy of the stylistic lineage established by Scott LaFaro with the Bill Evans Trio. A survey of literature concerning Johnson, Scott LaFaro and Eddie Gomez is included, as well as a discussion of the impact of apprenticeship on Johnson’s career. The study illuminates aspects of Johnson’s current vocabulary and how he has synthesized influences to create a distinctive vocabulary, not derivative of Scott LaFaro or Eddie Gomez, but incorporating elements of their style in the composition of his own voice.
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Carsalade, Pierre. "Paris transatlantique : les débuts de free jazz en france, des années 1960 aux années 1970 : essai d'analyse anthropologique de relations musicales transatlantiques." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0451.
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Cette thèse est une étude anthropologique et historique de la reformulation du free jazz en france dans les années 60 et 70, à un moment où les musiciens européens s'émancipent de leur position épigonale vis-à-vis du jazz américain pour créer de l'identité musicale locale. Une première problèmatique de recherche concerne l'analyse anthropologique des logiques d'altérité portées par la pratique jazzistique. Car si le jazz participe pleinement de notre modernité occidentale, il configure également à ses marges un modèle culturel alternatif à l'influence durable - un véritable autre dans le même. La seconde problèmatique est un retournement réflexif de cette approche de l'altérité. La circulation musicale transatlantique qui fonde ce rapport de l'Europe à "l'autre" afro-américain est alors envisagée dans les termes d'une anthropologie symétrique et d'une anthropologie du proche. L'étude de la reformulation française du free-jazz, au travers de relations à des objets comme entre sujets,dans la perspective d'une anthropologie de l'acculturation mobilisant les concepts de reformulation, de bricolage et de malentendu, permet plus globalement de questionner notre modernité culturelle européenne, ses limites et ses altérités internes. Il s'agit ainsi d'étudier la réception en France d'une altérité culturelle intimement articulée à la musique, au travers d'une méthode originale consistant à théoriser les pratiques musicales plutôt que les traits formels, les logiques socio-musicales à l'oeuvre dans ces pratiques, enfin les processus de circulation symbolique entre pratiques, formations discursives et objets sensibles qui informent créativité et identité musicales localesThis thesis work is an anthropological and historical study of the reformulation of free jazz in France, in the 60's and 70's. In this formative period, european musicians started to emancipate from their epigonal position concerning american jazz, creating some local musical identity. A first research problematic concerns the anthropological analysis of the otherness brought by jazzistic musical practice. If jazz is fully part of our occidental modernity it also constitutes, at its ends, an alternative cultural model - an influent otherness in the same. The second research problematic is a reflexive turnround of this otherness approach. The transatlantic musical circulation which is at the very heart of this relation of Europe with the afro-american "other" is then examined in the perspective of a symetric anthropology and an anthropology of the near. By studying the way free jazz was reformulated in France, through relations to objects as between subjects, in the perspective of an anthropology of cultural change mobilizing the concepts of reformulation, bricolage and misunderstanding, the purpose of such a work is to examine our european cultural modernity, its limits and internal otherness. By doing so, this works intends to study the reception in France of a cultural otherness intimately articulated with the music, through an original method consisting of theorizing the musical practices instead of the formal features they determine, the socio-musical logics operating in these practices and finally the processes of symbolic circulation between practices, discursives formations and sensibles objects that inform musical creativity and produce local identity
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Zugger, Thomas W. "The Influence of Jazz and Popular Music on the American Trombone Concerto, A Selected Study of the Solo Trombone and Large Ensemble Works of Richard Peaslee, James Pugh, Howard Buss, and Dexter Morrill." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1393348259.
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Zugger, Thomas. "The influence of jazz and popular music on the American trombone concerto, a selected study of the solo trombone and large ensemble works of Richard Peaslee, James Pugh, Howard Buss, and Dexter Morrill /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203158827096.
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Guerpin, Martin. "Adieu New York, bonjour Paris ! : les enjeux esthétiques et culturels des appropriations du jazz dans le monde musical savant français (1900-1930)." Thèse, Paris 4, 2015. http://hdl.handle.net/1866/15948.
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Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne et l'Université de Montréal.
Composition du jury : M. Laurent Cugny (Université Paris-Sorbonne) ; M. Michel Duchesneau (Université de Montréal) ; M. Philippe Gumplowicz (Université d'Evry-Val d'Essonne) ; Mme Barbara Kelly (Keele University - Royal Northern College of Music) ; M. François de Médicis (Université de Montréal) ; M. Christopher Moore (Université d'Ottawa)Cette version de la thèse a été tronquée de certains éléments protégés par le droit d’auteur (exemples musicaux et iconographie). Par conséquent, ces éléments n'apparaissent pas dans le document.
Ce travail envisage les appropriations musicales et discursives du jazz dans le monde musical savant français. Fondé sur la méthode des transferts culturels, il propose une histoire croisée de la musique savante française, de la diffusion des répertoires de jazz en Europe et de leur perception. La réflexion s’appuie sur un corpus systématique des œuvres savantes influencées le jazz et des textes que lui consacrent compositeurs et critiques. La réflexion se fonde sur l’établissement d’un corpus systématique des œuvres savantes influencées le jazz et des textes que lui consacrent compositeurs et critiques. Une analyse informée par des données issues de l’esthétique et de l’histoire culturelle montre que ces œuvres contribuèrent à différentes entreprises de redéfinition d’une identité française de la musique. Les appropriations du jazz remettent également en cause une conception de la musique populaire propre au XIXe siècle. Elles valorisent des sujets auparavant considérés comme triviaux et proposent un son nouveau, tantôt associé au modernisme mécaniste des États-Unis, tantôt à l’énergie débridée attribuée au primitivisme nègre. Enfin, elles participent à la remise au goût du jour d’un classicisme protéiforme. Ces différents aspects font l’objet d’une périodisation et d’une thématisation. Si les premiers cake-walks des années 1900 sont mis au service d’un exotisme « nègre », les emprunts au jazz à la fin des années 1910 relèvent d’un geste avant-gardiste au service d’un projet nationaliste de rétablissement de l’identité française de la musique. À partir du milieu des années 1920, suite aux efforts fructueux de Jean Wiéner pour légitimer le jazz aux yeux du monde musical savant, un discours spécialisé émerge. De nouveaux compositeurs s’y intéressent, dans la perspective d’un classicisme désormais plus cosmopolite. Tout en faisant émerger différents paradigmes de l’appropriation du jazz (cocteauiste, stravinskien, ravélien, entre autres), ce travail vise à jeter un éclairage nouveau sur la production musicale savante dans la France de l’entre-deux-guerres et sur les rencontres entre différentes traditions musicales.
This thesis deals with the musical and discursive appropriations of jazz in the French musical world. Inspired the approach of cultural transfers and crosses the history of French art music in France and the history of its diffusion and perception in Europe. To do so, it draws upon a corpus of art music pieces influenced by jazz and of texts written by composers and critics. This corpus contributes to different redefinitions of an alleged French musical identity. What is more, appropriations of jazz renew a conception of popular music that goes back to the beginning of the 19th century. They also valorize topics previously considered as trivial, and they display a new kind of sound, evoking Anglo-saxon modernism or « negro » primitivism. The different aspects mentionned above are presented in a chronological and thematic fashion. In the 1900s, the first cake-walks contribute to a tradition of « negro » exoticsm. Ten years after, borrowing to jazz has become an avant-gardist gesture, and a response to nationalist motivations. Thanks to Jean Wiéner’s efforts in order to legitimize jazz, a new group of composers and critics take an interest in it. Jazz then becomes a means to assert a more cosmopolitan classicism. This thesis identifies different paradigms of the appropriation of jazz in France. More broadly, it sheds new light on musical creation in the French art music world between 1900-1930, and on musical encounters between different musical traditions.
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Saint-Paul, Jean-Michel. "L'électro-jazz européen : (influences, diversités, et cristallisation d'un style)." Paris 8, 2010. http://octaviana.fr/document/159662982#?c=0&m=0&s=0&cv=0.
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Ce travail tente de caractériser l'électro-jazz en tant que style musical, ayant émergé dans les années 90. On y traite des influences musicales, aussi bien issues des recherches de Miles Davis, du funk de Herbie Hancock, du style de Pat Metheny ou encore de celui de Terje Rypdal. Lié à l'orientation artistique et commerciale du label ECM. , l'électro jazz se caractérise sur le plan esthétique par des atmosphères aériennes, souvent suggérées par la création graphique des pochettes de disques. Sur le terrain européen et scandinave, ECM aura contribué à un répertoire de l'électro-jazz particulièrement innovant sur le plan esthétique dans le mariage entre les éléments musicaux acoustiques et électroniques, intégrant les trames rythmiques issues du dancefloor, et incorporant des motifs mélodico-rythmiques des musiques populaires électroniques, qui lui ont été contemporaines. Le style de l'électro-jazz a été perçu comme rafraîchissant dans le milieu jazzistique, quoique de nos jours, quelque peu épuisé. Dans l'hypothèse d'un renouvellement stylistique, sinon d'une mutation, on s'intéressera aux travaux, entre autres, de Georges Lewis, ainsi que de Steve Coleman, qui, dès la fin des années 80, proposent une alternative quant aux relations entre les improvisateurs, le matériau instrumental et l'électronique. En effet, ces jazzmen ont mis en avant la rencontre avec un dispositif informatique interactif. La diffusion de ce jazz reste cependant confidentielle, visant une communauté restreinte et ne rentrant pas encore dans une logique commerciale. La rencontre entre le langage jazzistique et un dispositif interactif semble néanmoins être une ouverture intéressante pour le jazz électronique futurThis work tries to characterize the electro-jazz as a musical style, which has emerged in the middle of the nineties. We analyze a wide range of musical influences coming from Miles Davis, Herbie Hancock’s funk, Pat Metheny or Terje Rypdal. Linked to the artistic and commercial orientation of the ECM label, the electro-jazz presents aerial atmospheres, often suggested by the graphics on the cover discs. In Europe and Scandinavian countries, ECM has contributed to a particular and innovative repertoire for the electro-jazz on an aesthetical aspect. The label has mixed acoustic and electrical musical elements, by integrating melodico-rhythmical motives from contemporary electronic popular musics. Electro-jazz style has been perceived as a new refreshing music for jazz, but nowadays much less. In the hypothesis of an aesthetical renewal, or a mutation, we will focus on George Lewis and Steve Coleman works, who since the beginning of the eighties have proposed an alternative way for relationships between improvisers, the instrumental material and the electronic. Those jazzmen have shown an interest towards the encounter with an interactive computer system. The diffusion of this jazz is still confidential, and this music is heard by a little community. It does not follow a commercial prospect. The mix between jazz language and an interactive system seems to be an interesting new way for the future electronic jazz
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Garner, Charles. "Fletcher Henderson, king of swing: a summary of his career, his music and his influences /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10257925.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Harold Abeles. Dissertation Committee: Lenore Pogonowski. Discography: p. 228-230. Includes bibliographical references: (leaves 211-217).
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Vincens, Guilherme Caldeira Loss. "The Arrangements of Roland Dyens and Sérgio Assad: Innovations in Adapting Jazz Standards and Jazz-influenced Popular Works to the Solo Classical Guitar." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195065.
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Classical guitarists Roland Dyens (b.1955) and Sérgio Assad (b.1952) are widely recognized for their productivity as arrangers, improvisers, composers and performers, and for their experience in jazz and Latin American popular styles. Dyens and Assad, professors at the Paris Conservatory and at the San Francisco Conservatory, respectively, are also important pedagogues of the instrument. A significant part of their creative output consists of arrangements of popular music, jazz and jazz-influenced works for the solo guitar. This study examines Dyens' arrangements of "Misty" and "All The Things You Are," and Assad's arrangements of "Verano" and "Invierno" from Las Estaciones Porteñas by Ástor Piazzolla, and compares them with arrangements by other guitarists (Agustín Carlevaro, Baltazar Benítez and Joe Pass), pointing out innovations in texture and polyphonic writing for the solo guitar. The author employs theories of hybridism and bi-musicality to frame his analysis and situates the works in terms of historical practice, including examples from arrangements by Luís de Narváez, Mauro Giuliani, Miguel Llobet and Léo Brouwer.
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Sellgren, Joel. "Komposition utifrån influenser : Hur transkription av trumslagare kan influera en kompositionsprocess." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4118.
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In this project, I have used material gathered by transcribing two meaningful drummers in the history of jazz, Elvin Jones and Eric Harland, in order to create original compositions. The transcription process is discussed, as well as how I took inspiration from a few of the phrases I found interesting, and tried to create new material based on those ideas. Towards the end of this thesis, I draw the conclusion that to create new music with this method, I need external inspiration such as harmony or melody in addition to the drum part to create a composition that I’m satisfied with.
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Creighton, Randall. "A Man of Two Worlds: Classical and Jazz Influences in Nikolai Kapustin's Twenty-Four Preludes, Op. 53." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195571.
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Nikolai Kapustin was born in 1937 and has been active as a composer since the late 1950s, though he has only become relatively well known in the West since around 2000. Despite the fact that he has spent his whole life in Russia, Kapustin was strongly influenced by American jazz and his compositional style has always been a combination of the formal elements of classical music and the stylistic elements of jazz. Critics have all commented on Kapustin's astute blend of classical form and jazz style, mentioning the influence of Russian composers Rachmaninov and Scriabin, while also noting echoes of Art Tatum, Oscar Peterson, and Chick Corea. The Twenty-Four Preludes, Op. 53 were published in 1988 and follow the key sequence set forth by the Chopin Preludes, Op. 28. These preludes are as virtuosic and ambitious as those of Chopin, Scriabin, and Rachmaninov.A close examination of the score of the Twenty-Four Preludes, Op. 53 reveals that Kapustin uses several methods of thematic organization, including variations of scoring, thematic transformation, and spinning out the germ of an idea in a more improvisatory way and that these techniques can be traced directly to the music of Rachmaninov, Scriabin, Liszt, and Beethoven. There are examples of ternary, rondo, and monothematic forms, and the ternary Preludes in particular contain elements similar to sonata-allegro form. Kapustin's musical language is infused with the harmonic and rhythmic elements of jazz, with ample use of added note chords in sophisticated voicings. The echoes of various jazz artists are represented by his skilled use of pianistic techniques like stride and walking bass along with a broad range of harmonic and rhythmic devices that span the stylistic range from Swing and Novelty piano, to Bebop and contemporary Jazz-rock. Though he is clearly familiar with standard jazz harmonic devices, he uses them sparingly, preferring instead to use modulation and developmental models that are grounded in classical music practice. From modern jazz, he takes quartal, pentatonic, and diminished harmony, along with highly chromatic two-voiced textures similar to those used by jazz artists from the 1960s onward, particularly Miles Davis.
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Park, Bokyung. "Paul Hindemith's Suite 1922: Influences of Jazz and Baroque Styles, and his Embryonic Compositional System." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306363.
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This document examines Paul Hindemith's piano work, Suite 1922, op. 26, (1922) a work that is seldom played and studied among pianists. My study explores two broad questions: first, how and for what purpose are traditional Baroque models and jazz idioms included in Hindemith's Suite 1922; and second, can one analyze portions of the suite according to the process and principles found in Hindemith's compositional system? While this system was not fully outlined by Hindemith until 1937, the author examines to what extent specific elements of his emerging theory are to be found throughout Suite 1922. The first two chapters are dedicated to an overview of Hindemith's life and music. Chapter III investigates the origins of the individual movements of Suite 1922 and provides a structural analysis for each. Chapter IV examines the jazz and Baroque features found in Suite 1922. In this chapter, the author identifies the main elements drawn from both styles: blues harmonies, extended triads, syncopations and rhythmic devices from jazz; and formal aspects, dance suite order and affects from the Baroque. Chapter V presents Hindemith's mature compositional system in a concise format and applies selected aspects of this innovative system to the suite. Hindemith's six levels of analysis and unifying principles are the primary tools applied to this analysis. This study provides new insights into one of Hindemith's more fascinating works to further enhance the understanding of his music for pianists, scholars, and composers alike.
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Mateus, Abelita. "The influences contributing to the "samba jazz feel" of Cesar Camargo Mariano's piano trio style." Thesis, The William Paterson University of New Jersey, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1567589.
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This thesis connects the influence of Erroll Garner, George Shearing, Oscar Peterson and Nat King Cole to the establishment of Cesar Camargo Mariano's musical style in a trio setting. It shows that Mariano's piano trio playing created a new feel categorized by this author as "samba jazz feel," which was derived from the fusion of the rhythmic basis of samba with some rhythmic aspects of jazz. To show this, the author uses musical analysis along with qualitative interview data drawn from an exclusive interview with Mariano and from his memoir. Historical aspects of the development of both samba and the swing rhythmic traditions are discussed, as well as historical background on the development of the American and Brazilian music industries. The author claims that while the basis of Cesar Camargo Mariano's musical concept are the samba and bossa nova, jazz stylings greatly influenced the establishment of his musical style, mainly his piano trio style, which is one of the most important representatives of the samba jazz feel.
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Pérez, Ruiz Antonio. "Influencia del Jazz dentro del repertorio clásico de Saxofón más representativo del siglo XX." Doctoral thesis, Universitat Politècnica de València, 2009. http://hdl.handle.net/10251/4337.
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Mediante esta investigación se demuestra el nexo de unión entre la música culta y el jazz dentro del repertorio clásico de saxofón más representativo del siglo XX y se pone de manifiesto una metodología en la cual se pueden vincular ambos mundos sin ningún prejuicio. Para conseguir cada uno de los objetivos planteados, se ha efectuado un desarrollo metodológico dividido en dos partes: una analítica-comparativa y otra de aplicación docente (experimentación en el aula y creación).
La parte analítica-comparativa es la parte principal y está organizada en dos capítulos trazando una síntesis de las décadas que han ido aconteciendo durante el siglo XX. El primer capítulo (repertorio tradicional), abarca obras desde comienzo del siglo XX hasta 1950, y el segundo (repertorio de vanguardia) desde 1950 hasta la actualidad. Los apartados y subapartados que constituyen ambos capítulos, se concretan mediante numerosos ejemplos musicales de obras maestras del repertorio de saxofón exponiendo la transición y evolución que ha experimentado gran parte de este repertorio con estas características. El análisis efectuado, muestra una visión general de las diferentes épocas que han ido surgiendo, tratando, entre otros aspectos, todos los elementos determinantes de las diversas corrientes aparecidas a lo largo de este periodo. Asimismo, cada capítulo versa sobre un tema distinto, donde se relacionan y comparan los elementos principales de las obras más representativas con el mundo del jazz.
La segunda parte, aplicaciones docentes, constituye un aporte experimental práctico de índole creativo que consiste en la realización de diversos ejercicios incorporando de forma progresiva la práctica de la improvisación y creación dentro de un contexto educativo. Este capítulo, principalmente se fundamenta en la composición de piezas, ejemplos jazzísticos, e incorporación de conceptos y recursos para la improvisación y creación, aplicando algunas de las conclusiones más imPérez Ruiz, A. (2009). Influencia del Jazz dentro del repertorio clásico de Saxofón más representativo del siglo XX [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/4337
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Pruñonosa, Furió José. "Tercera corriente jazzística (third stream): influencia en el panorama actual del jazz en Valencia." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/74246.
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[EN] Doctoral thesis:
Third stream jazz: influence on the current scene of jazz in Valencia.
Abstract:
The dialectic between classical music and jazz schools is a long-standing issue; which would need a historical revision due to the recent addition of the higher education of jazz at the conservatory of Valencia, which operate in parallel way looking each other with suspicion.
In the second half of the 20th century Gunther Schuller coined the term third stream to define a new aesthetic somewhere between jazz and contemporary classical music, since the beginning of century XXI is taking root with force in the current landscape of the Valencian's jazz. Since the work with strings ensembles of Daniel Flors and David Pastor, the approach to the jazz of the brass quintet Spanish Brass Luur Metalls, the recreations of the work of Impressionist composers by Ximo Tébar and Daniel Picazo, Diego de Lera and Felipe Cucciardi's Trío, the inclusion of new orchestral templates to the jazz ensembles by Albert Sanz and his Russafa Ensemble, the emergence of the symphonic music of Jesús Santandreu purely third stream, the fusion of the Valencian's traditional music with jazz of Ramón Cardo and the large format of Perico Sambeat's choral jazz, Valencian's jazz, as a symptom of modernity, are taking a new direction which claims a new status to the same level as the classical music concert.
The main conclusion of this study tries to stress the obvious approach of our local jazz to contemporary classical music in this first decade of the century XXI as a symptom of modernity: an approach that coincides historically with the incorporation of the jazz studies at the conservatory of Valencia.[ES] Tesis doctoral: Tercera corriente jazzística (third stream): influencia en el panorama actual del jazz en Valencia. Resumen: La dialéctica entre escuelas de música clásica y jazz es un tema ya antiguo; que por otro lado necesitaría de una revisión histórica a la vista de la incorporación de los estudios superiores de jazz en el conservatorio de Valencia, puesto que ambas corrientes se desenvuelven de un modo paralelo mirándose aún con recelo. En la segunda mitad del siglo XX Gunther Schuller acuñó el término third stream para definir una nueva estética a medio camino entre el jazz y la música clásica contemporánea, que desde principios del siglo XXI se está arraigando con fuerza en el panorama actual del jazz valenciano. Desde los trabajos con ensembles de cuerdas de Daniel Flors y David Pastor, el acercamiento al jazz del quinteto de metales Spanish Brass Luur Metalls, las recreaciones de la obra de compositores impresionistas por parte de Ximo Tébar y del Daniel Picazo, Diego de Lera, Felipe Cucciardi Trío, la inclusión de nuevas plantillas orquestales a los ensembles de jazz por parte de Albert Sanz y su Russafa Ensemble, la eclosión de la obra sinfónica de Jesús Santandreu netamente third stream, la fusión de la música tradicional valenciana con el jazz de Ramón Cardo y el jazz coral de gran formato de Perico Sambeat, el jazz valenciano, como síntoma de modernidad, está tomando un nuevo rumbo que reivindica un nuevo estatus al mismo nivel que la música clásica de concierto. La conclusión principal del presente trabajo trata de recalcar el evidente acercamiento de nuestro jazz local a la música clásica contemporánea en esta primera década del siglo XXI como síntoma de modernidad: un acercamiento que coincide históricamente con la incorporación de los estudios superiores de jazz en el conservatorio de Valencia.
[CAT] Tesi Doctoral: Tercer corrent jazzístic (third stream): influència en el panorama actual del jazz a València. Resum: La dialèctica entre les escoles de música clàssica i el jazz és un assumpte ja vell. D'altra banda seria necessari una ressenya històrica davant la incorporació dels estudis superiors de jazz en el conservatori de València, ja que ambdós corrents es desenvolupen d'una manera paral·lela mirant-se fins i tot amb recel. A la segona meitat del segle XX Gunther Schuller va encunyar el terme third stream per definir una nova estètica a mig camí entre el jazz i la música clàssica contemporània, que des de principis del segle XXI està arrelant amb força dins del panorama actual del jazz valencià. Des de l'obra amb conjunts de cordes de Daniel Flors i David Pastor, l'aproximació al jazz del quintet de metall Spanish Brass Luur Metalls, les recreacions de l'obra dels compositors impressionistes per Ximo Tébar i el Daniel Picazo, Diego de Lera, Felipe Cucciardi trio, la inclusió de noves plantilles orquestrals a les formacions de jazz per Albert Sanz i el seu Russafa Ensemble, l'eclosió de l'obra simfònica de Jesús Santandreu purament third stream, la fusió de la música tradicional valenciana amb el jazz de Ramón Cardo i el jazz coral de gran format de Perico Sambeat, el jazz valencià, com a símptoma de modernitat, està prenent una nova direcció que reclama un nou estatus al mateix nivell que la música clàssica de concert. La principal conclusió d'aquest estudi pretén emfatitzar l'aproximació evident del nostre jazz local a la música clàssica contemporània en aquesta primera dècada del segle XXI com a símptoma de modernitat: una aproximació que coincideix històricament amb la incorporació dels estudis superiors de jazz al conservatori de Valencia.
Pruñonosa Furió, J. (2016). Tercera corriente jazzística (third stream): influencia en el panorama actual del jazz en Valencia [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/74246
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Harrison, Kathleen E. "The treatment of the trumpet in selected jazz-influenced classical chamber works of the twentieth century /." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1791982201&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Tyulkova, Yana. "Classical and Jazz Influences in the Music of Nikolai Kapustin| Piano Sonata No. 3, Op. 55." Thesis, West Virginia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702047.
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The subject of this dissertation is the contemporary Russian composer and pianist Nikolai Kapustin. Being himself a virtuoso pianist, Kapustin has written a large repertoire for solo piano. During the last fifteen years, the popularity of Kapustin in the United States has grown enormously through performances, publications, presentations, and recordings. Kapustin's output has over 150 opus numbers in all major forms of Baroque, Classical and Romantic music, such as suite, invention, preludes and fugues, variations, sonata, concerto, and more.
Kapustin's style fuses the classical approach to form and the jazz approach to harmony and rhythm in a very unique way. His compositional style is strongly influenced by American jazz, particularly the style of Oscar Peterson, Art Tatum, Herbie Hancock, and Bill Evans. From the other side, his music is strongly influenced by composers of Classical music such as Alexander Scriabin, Sergei Rachmaninov, Frederick Chopin, Maurice Ravel, and Bela Bartok.
Kapustin composed twenty Piano Sonatas during the period of 1984-2011. There has been little research to this point regarding the music of Kapustin and no formal research has been completed concerning Piano Sonata No. 3. This sonata is the particular scope of this dissertation, as nearly every aspect of Kapustin's compositional style can be found in this work.
Sonata No. 3 was composed in 1990 and was published in August 2014. The Sonata is a one-movement work and it contains a quote of the "Dies Irae" theme, which sets this work apart from his other sonatas.
This dissertation will provide biographical information on Nikolai Kapustin, historical and musical background, and will include an analysis of Piano Sonata No. 3.
Fortunately, the author speaks the Russian language and had opportunities to meet with Nikolai Kapustin. The information obtained in personal interviews with the composer will also be presented.
Hopefully, this dissertation will promote further research, performance, and understanding of the music of one of the most outstanding modern day composers, Nikolai Grigorievich Kapustin.
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Harrison, Kathleen Elizabeth. "THE TREATMENT OF THE TRUMPET IN SELECTED JAZZ-INFLUENCED CLASSICAL CHAMBER WORKS OF THE TWENTIETH CENTURY." OpenSIUC, 2009. https://opensiuc.lib.siu.edu/theses/493.
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The trumpet has always maintained a central role in the jazz genre. However, throughout the history of chamber music the trumpet was overlooked until the mid-twentieth century when brass chamber music and mixed chamber ensembles rose to popularity. An infiltration of the popular American style, jazz, into classical chamber music changed composers' treatment of the trumpet. This thesis focuses on the role and treatment of the trumpet in selected jazz-influenced classical chamber works in order to highlight that the trumpet's prominence in jazz helped to establish its place in twentieth-century chamber music. A brief history of classical brass chamber music and the origins and development of jazz is given. Trumpet performance techniques and compositional practices idiomatic to the different jazz style periods, ranging from ragtime to cool jazz, are given. These techniques are then traced through selected chamber music works of Stravinsky, Martinu, Schuller, Babbitt, and Wilson. Selected works were chosen based on the degree of jazz influence and are representations of the jazz style period they emulate. A comparison of how classical composers in Europe and the United States viewed the trumpet in jazz, in regards to chamber music, is detailed over the course of the twentieth century.
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Park, Hyeyeon, and Hyeyeon Park. "Alexander Rosenblatt's Piano Sonata No. 2 and Its Influences: The Blending of Classical Techniques and Jazz Elements." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/622995.
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Alexander Rosenblatt (b. 1956), a Russian composer, pianist and conductor, is an outstanding contemporary composer. He has composed more than forty works in diverse genres, with almost half of his output devoted to piano compositions, including piano solo, duets, concerti, and chamber music. In this study, I discuss Rosenblatt's background as a musician and composer and provide an analysis of his compositional styles as found in Piano Sonata No. 2 (1988). Rosenblatt's music integrates classical form with a variety of other influences creating a style that brings together diverse elements from those of precedent composers, such as Chopin, Rachmaninoff, and Prokofiev and their compositional techniques, to the stylistic trends of jazz, including quartal harmony, syncopation, suspended chords, swing, and improvisational style. With his fusion of classical and jazz compositional techniques, Rosenblatt occupies an important place in contemporary piano literature. My research sheds light on Rosenblatt's compositional techniques, contributing to the scholarship on contemporary piano literature in general and providing insight for performers and scholars with specific interest in Rosenblatt. It is my hope that my work will stimulate further research on Rosenblatt and his contemporaries, and that his compositions may assume a prominent place in the standard repertory.
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Emge, Jeffrey David. "THIRD-STREAM MUSIC FOR BAND: AN EXAMINATION OF JAZZ INFLUENCES IN FIVE SELECTED COMPOSITIONS FOR WINDS AND PERCUSSION." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin976028548.
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Dvärby, Uno. "Att medvetandegöra sina influenser." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3463.
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In this bachelor project I tried to find if I could enhance my playing and composing by listening to music in an analyzing manner. I listened to jazz music that was recorded in the 1920s and jazz music that was recorded in the present day to try and find different aspects of the music that I enjoyed. Using these aspects, I composed music for a 7-piece band and performed that music in a concert. The goal of this project was not to create a fusion of these different styles of music but to contemplate on what I like in these different styles of music and how I can use that knowledge to my advantage.Låtlista:
"En Helt Vanlig Blues" - Uno Dvärby
"Fel Väder" - Uno Dvärby
"Henderson" - Uno Dvärby
"Det Blir bättre Sen" - Uno Dvärby
"Äntligen Fredag" - Uno Dvärby
Medverkande musiker
Max Agnas - Piano
Jakob Bylund - Trummor
Björn Bäckström - Saxofon/klarinett
Uno Dvärby - Kontrabas
Hannes Junestav - Trombon
Viktor Spasov - Gitarr
Erik Tengholm - Trumpet
Konserten filmades och finns bifogad som länk.
https://www.youtube.com/watch?v=fSH0aAKE5vY&t=1115s
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Tholin, Rasmus. "Plankning och transkribering : Influenser för solospel på trumset." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3901.
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Att härma och hitta inspiration från förebilder har varit vardaglig praxis under jazzhistorien. Genom att appropriera (Säljö, 2014), lägger individer beslag på andra individers kunskap och omvandla det till egen kunskap. Senare i externaliseringen (Bruner, 2002) synliggörs kunskapen i handling. I denna studie har metoderna plankning och transkribering undersökts som verktyg för att utveckla eget solospel på trumspel. Genom att följa den egna läroprocessen undersöktes också hur man pedagogiskt kan använda plankning och transkribering som metod för att bidra till konstnärlig utveckling. Den musikgenre som behandlas i studien är jazz, där trumslagaren Max Roach solospel använts genom valda exempel. I resultatet presenteras en jämförelse av två egna trumsolon där ett spelades in i början och ett i slutet av studien. Läroprocessen i övningsrummet och under instrumentallektioner har dokumenteras med hjälp av loggbok. Resultatet visar att en del fraser har härmats exakt och en del har härmats rytmiskt men med en egen konstnärlig prägel. Vid en egen konstnärlig prägel av en exakt rytm har en antydan till ett mer självständigt solospel påträffats och plankning och transkribering har visat sig fungera som metod för att utveckla solospel, men metoden är tidskrävande.
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PINERO, M. R. C. "La influencia del blues y el jazz en tres autoras afro-estadounidenses: Toni Morrison, Alice Walker y Gayl Jones." Universidade Federal do Espírito Santo, 2014. http://repositorio.ufes.br/handle/10/3169.
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Previous issue date: 2014-05-27La presente Tesis parte de un acercamiento poliédrico al blues y al jazz como temas literarios, como ritmos transgresores, como espacios de reivindicación y como estandartes de la música que surgió del contacto cultural en la diáspora. Se explora La influencia de estos géneros musicales en tres obras literarias de cada una las siguientes autoras: Toni Morrison, Alice Walker y Gayl Jones. Estos textos literarios, publicados principalmente entre los años setenta y principios de los ochenta del siglo XX, son uma buena muestra de la influencia del legado de las cantantes de blues, de los ritmos sincopados del jazz y de la cultura vernácula de las personas afro-estadounidenses. Las escritoras rompen con la tradición literaria de vincular el blues y el jazz a autores masculinos y protagonizan el renacer literario femenino negro de los años setenta. Esta investigación aúna la crítica feminista negra, los estudios literarios y lãs historias de la música negra, para determinar el papel del blues y el jazz como testimonios de la resistencia ante la desigualdad de raza, clase y género, esta última visibilizada por las cantantes de blues primero y por las autoras objeto de estúdio después. Asimismo, se hace especial énfasis en el trasfondo social de la música que sonaba en el momento histórico en el que las autoras sitúan la trama de los textos.
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Bair, Jeff. "Cyclic Patterns in John Coltrane's Melodic Vocabulary as Influenced by Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns: An Analysis of Selected Improvisations." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/bair%5Fjeff/index.htm.
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Skarparis, George. "Jazz as a Historical Phenomenon and its Influence Classical Music." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-291544.
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In my thesis i analyze the history of jazz, since the time of the slavery, and Ii follow how the African American people from various locations and tribes were forced to go in America to work. I divide each period, starting chronologically and explaining how Afro- Americans developed the music which today is called jazz. I analyze the elements from African music that African Americans were using and i move into the era that their style was flourishing in New Orleans. I then speak about the main genres of their music until jazz appeared, and i write about the different sub-styles and forms that existed, such as spirituals,ragtime, blues and others. In the work it is also mentioned briefly how Jazz came into the Czech Republic, and i illustrate the contribution of Jaroslav Jezek. In two chapters i speak about the typical jazz elements and harmony, and i make some comparison with the classical music elements. In the final chapter i analyze three works from composers of the 20th century that were influenced by jazz, and show how their compositions used elements from the african american music.
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Haar, Ora Paul Pittel Harvey Mills John Russell. "The influence of jazz elements on Edison Denisov's Sonata for alto saxophone and piano." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3127089.
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Norman, Liesa Karen. "The respective influence of jazz and classical music on each other, the evolution of third stream and fusion and the effects thereof into the 21st century." Thesis, 2002. http://hdl.handle.net/2429/13180.
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This paper considers the development of jazz and classical music, and the influence
exerted by each genre on the other through the Symphonic Jazz era, the Third Stream movement,
the Avant Garde movement, and multi-genre Fusion. This influence began in small doses but, by
the time of the third stream movement, had culminated in jazz and classical music becoming
equal partners and, with the onset of fusion, jazz and classical music melding to form a
completely new genre. This paper considers some of the musical, and even sociological factors,
that drove these two genres towards a point of convergence, as well as the musicians and
composers who played a central role in this development. While this thesis considers how each
genre affected the other, the focus is not on critiquing the result of such "fusions," especially
those resulting from earlier "cross-over" attempts, but instead on recognizing the influence that
existed and considering its significance both today and into the future. Works considered
include La Creation du Monde by Milhaud, Piano Concerto by Copland, Rhapsody in Blue by
Gershwin, The City of Glass by Graettinger, Sketch by John Lewis, Revelation by Charles
Mingus, Transformation by Gunther Schuller and Still Waters by Anthony Davis. Lastly, this
paper considers the continued emphasis on fusion in the 21st century and the effect thereon of
the ever-increasing exposure individuals have to an incredibly wide variety of music, coupled
with the emphasis and promotion of pop culture and the corresponding de-emphasis on the fine
arts. The result, it is submitted, is the adoption by broadly educated performers and composers,
cross-trained in various genres, of innovative sounds and techniques which are used to expand
the canon of works in each genre. These developments into the 21st century will have the equal
and Opposite effect of stirring renewed interest in the respective original genres, allowing the
popular base of jazz and classical music to expand and regenerate.
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Seigfried, Karl Erik Haddock. ""At once old-timey and avant-garde" : the innovation and influence of Wilbur Ware." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3101225.
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Haar, Ora Paul. "The influence of jazz elements on Edison Denisov's Sonata for alto saxophone and piano." Thesis, 2004. http://hdl.handle.net/2152/1146.
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