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1
Kwaczyńska, Olga. "The Reception of American Jazz in Japan: An Outline of Issues." Kwartalnik Młodych Muzykologów UJ, no. 44 (1) (2020): 33–46. http://dx.doi.org/10.4467/23537094kmmuj.20.027.13900.
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The following article presents the history of Japanese jazz, from the first musical contacts to its contemporary successes and problems of the jazz music market. An important role in the development and evolution of jazz in Japan (even before the post-war US occupation of that country) was played by the presence of American military forces in the Philippines, which, as an American-dependent territory, maintained cultural contacts with the United States, where jazz had been born at the beginning of the 20th century and became one of the most popular forms of music. Apart from contact with Filipino musicians, who were the first source of jazz education for the Japanese, the rise of jazz cafés (jazzu-kissa) was also important for the development of jazz in the Land of the Cherry Blossom. The cafés played a huge role in generating interest in jazz and shaping musical tastes. The article also shows the influence of jazz on the formation of a modern, American-type lifestyle among the Japanese middle-class. In addition, the article discusses the complex issue of the authenticity of Japanese jazz in relation to American jazz and the role of world-famous Japanese musicians, such as Toshiko Akiyoshi, in overcoming stereotypes. The aim of the article is to demonstrate the universality and at the same time the local character of contemporary Japanese jazz as well as the distinguishing features of jazz in Japan.
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Murphy, John P. "Jazz Improvisation: The Joy of Influence." Black Perspective in Music 18, no. 1/2 (1990): 7. http://dx.doi.org/10.2307/1214855.
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Sykes, Tom. "Music Outside? Innovation and ‘Britishness' in British Jazz 1960-1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 178–90. http://dx.doi.org/10.5450/ejm.2017.16.5786.
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The 1960s and 1970s are regarded by some historians as being particularly creative decades for jazz in Britain, when British jazz developed its own sound that was distinct from that of American jazz. While not denying that this was a creatively fruitful period in British jazz, in this paper I argue that a ‘British sound' in jazz is difficult, perhaps impossible, to define, even though some authors have referred to a sense of ‘Britishness', particularly in the work of certain musicians discussed by Ian Carr in his book Music Outside: Contemporary Jazz in Britain. Some British jazz, performed largely by white (and mostly male) musicians at this time, was influenced during the 1960s by the contribution of immigrant black musicians from South Africa and the Caribbean; at the same time, musicians such as Michael Garrick and John Surman were drawing to some extent on British folk music for inspiration. Referring to examples from the period, I suggest that although much British jazz from 1960 to 1980 was innovative and became less ‘American', development of its styles was affected by many musical, cultural and political factors. To what extent this music sounds ‘British' is debatable, but its influence has led to the pluralism of jazz styles in Britain that continues today.
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Dunkel, Mario. "“It Should Always Be a Give-and-Take”." European Journal of Musicology 16, no. 1 (December 31, 2017): 191–207. http://dx.doi.org/10.5450/ejm.2017.16.5787.
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The 1960s and 1970s are regarded by some historians as being particularly creative decades for jazz in Britain, when British jazz developed its own sound that was distinct from that of American jazz. While not denying that this was a creatively fruitful period in British jazz, in this paper I argue that a ‘British sound' in jazz is difficult, perhaps impossible, to define, even though some authors have referred to a sense of ‘Britishness', particularly in the work of certain musicians discussed by Ian Carr in his book Music Outside: Contemporary Jazz in Britain. Some British jazz, performed largely by white (and mostly male) musicians at this time, was influenced during the 1960s by the contribution of immigrant black musicians from South Africa and the Caribbean; at the same time, musicians such as Michael Garrick and John Surman were drawing to some extent on British folk music for inspiration. Referring to examples from the period, I suggest that although much British jazz from 1960 to 1980 was innovative and became less ‘American', development of its styles was affected by many musical, cultural and political factors. To what extent this music sounds ‘British' is debatable, but its influence has led to the pluralism of jazz styles in Britain that continues today.
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III, William Howland Kenney. "The Influence of Black Vaudeville on Early Jazz." Black Perspective in Music 14, no. 3 (1986): 233. http://dx.doi.org/10.2307/1215064.
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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival." European Journal of Cultural Studies 20, no. 2 (April 27, 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.
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This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.
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Bruckner-Haring, Christa. "The Development of the Austrian Jazz Scene and Its Identity 1960-1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 136–57. http://dx.doi.org/10.5450/ejm.2017.16.5784.
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In Austria, a country steeped in music history and famous for composers such as Mozart, Haydn, and Bruckner, jazz was quick to earn a place in the cultural landscape. After World War II, important jazz scenes rapidly evolved in Vienna and Graz and, particularly from the 1960s onwards, grew into a strong and independent national jazz scene. Its musicians and ensembles focussed on developing their own characteristics and styles. This article examines primary aspects of the jazz scene during these formative years, such as the series of amateur jazz festivals held in the 1960s, Friedrich Gulda's commitment to jazz, Graz as a jazz centre and the institutionalisation of jazz at the Academy of Music in Graz in 1965, the role of the Austrian broadcasting network (ORF), and the impact of the Vienna Art Orchestra. In addition to archival records and musicological and journalistic texts, interviews conducted with members of different parts of the jazz scene offer important insights into the development of jazz during this period (with musicians, ensembles, educators and researchers, festival and venue organisers, agencies and policy makers, members of the media). This article offers an overview of pertinent aspects of the Austrian jazz scene between 1960 and 1980, revealing opinions about the influence of these aspects on the formation of Austrian jazz identity.
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Parsonage, Catherine. "A critical reassessment of the reception of early jazz in Britain." Popular Music 22, no. 3 (October 2003): 315–36. http://dx.doi.org/10.1017/s0261143003003210.
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The Original Dixieland Jazz Band's visit in 1919–1920 has been well documented as the beginning of jazz in Britain. This article illuminates a more complex evolution of the image and presence of jazz in Britain through consideration of the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth to early twentieth centuries. The processes through which this evolution took place are considered with reference to the ways in which jazz was introduced to Britain through imported revue shows and sheet music.It is an extremely significant but often neglected fact that another group of American musicians, Will Marion Cook's Southern Syncopated Orchestra, also came to Britain in 1919. Remarkably, extensive comparisons of the respective performances and reception of the ODJB and the SSO have not been made in the available literature on jazz. Examination of the situation of one white and one black group of American musicians performing contemporaneously in London is extremely informative, as it evidences the continuing influence of the antecedents of jazz and the importance of both groups in shaping perceptions of jazz in Britain.
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Diachenko, Yu S. "Pop‑jazz works by Viktor Vlasov: genre and style innovations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 29–43. http://dx.doi.org/10.34064/khnum1-56.02.
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Background. From the second half of the XX century to the present time in the musical culture of the world we observe significant influence of jazz. New trends, styles, genres is appeared due to the interaction of jazz and academic music. Thus, at the beginning of the XX century such phenomenon of musical art rises as a synthesis of features of jazz and pop music. This process leads to the renewal of musical language, experimentation, the emergence of new styles and trends. All mentioned above are largely inherent in variety-jazz accordion art, which has a significant spread from the early XX century. The formation of the European accordion variety-jazz direction is connected, for the most part, with the genre orientation of the works of a certain region. In France it was a musette. In Germany there were virtuoso fantasies, variations on the themes of popular song and dance melodies, waltzes. In Italy – tarantella, samba, tango. “In the first decades of the XX century accordion began to be widely used in the USA. From beginning of popularization, it was emigrants from Italy”, notes M. Imkhanitskiy (2004: 304–305). In Ukraine, the stage of the emergence of variety-jazz style is associated with the assimilation of the European and American traditions of variety and jazz accordion art. The purpose of the article is to determine the main genre and style levels of the embodiment of variety-jazz style in the works of V. Vlasov. Presenting main material. The integration process of Ukrainian accordion art is significantly separated from the world performing movement. The variety of stylistic vectors (variety, jazz, pop-jazz) and the high level of professionalism of the performers significantly affect the current trends of variety-jazz direction. Victor Vlasov is one of the personalities who has a great influence on the modern process of development of variety-jazz direction in its national specifics. The introduction of professional technical-expressive and artistic components in his compositions is due to the author’s impeccable knowledge of the possibilities of accordion. The embodiment of jazz stylystics is achieved in V. Vlasov’s works by specific means: clear and pulsating metrorhythm, special melody and harmony, jazz phrasing, swinging, uniqueness of articulation. First, V. Vlasov uses rhythmic-factural models, typical of certain genres that were not previously involved in accordion practice. Secondly, he uses quasi-improvisations – the improvisational sections on a harmonious basis taked from main thematic material; third, imitations of the sound of an ensemble in different “timbre layers”, sonor effects in the form of various blows on parts of the instrument, on the floor, etc., mimicing the sound of percussion instruments. Fourth, V. Vlasov often uses swinging. Analyzing the compositional style of V. Vlasov, we find its characteristic features: at the level of the genre subsystem, the composer uses traditional genres of variety music; the level of the evolutionary subsystem is characterized by stylistic diversity (academic, avant-garde, electronic, variety-jazz trends); ethnic metasystem in the artist’s work is represented by the folklore basis of the works, the involvement of traditional genres of certain regions (“Vesnyanka”, “Kolyadka”, “Tarantella”, “Tango”, “Bossa Nova”); historical metasystem is manifested in the use of historically formed jazz styles (New Orleans’ jazz, bebop, swing, cool, etc.). The article considers the embodiment of variety-jazz style on the example of one of the parts of the V. Vlasov’s cycle “Variety-jazz compositions”, the piece “Basso ostinato”. The relevance of the study of this work is connected with its considerable popularity among performers of different countries, the active use of the work by participants in various competitions of accordionists. Using a simple compositional element filled with altered chords, the author creates a clear harmonious and formative grid as a jazz square. Synthesizing the academic form of musical art (Basso ostinato) with variety-jazz style, V. Vlasov created a pattern of his own compositional style. V. Vlasov’s works, in general, have a clear form, mostly there are complex three-part or variational compositions, but his variety-jazz style has its own specifics: ● use of altered chord; ● involvement of noise effects, specific accordion strokes and techniques; ● quasi-improvisations based on the principles of jazz music. Conclusions. V. Vlasov’s works have their influence on the development of variety-jazz music today. He remains one of the first composers to integrate and develop at a high professional level variety-jazz direction in the domestic accordion art. The composer represents new (to accordion-art) jazz performing techniques, novelty of musical ideas and their textural and intonational embodiment. Manifestation of variety-jazz style of V. Vlasov is a set of personal means of expression. Thus, the artist’s works are characterized by the use of altered chords, the involvement of noise effects (“percussion”), specific accordion strokes and techniques; introduction of quasi-improvisations based on the principles of jazz music. V. Vlasov’s individual and stylistic searches determine the characteristic features of the author’s school as a stylistic phenomenon in the development of domestic and European accordion art. Stylistic orientation of V. Vlasov’s compositions – New Orleans jazz, swing, bee-bop, cool, progressive – presents a wide range of genres and styles.
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Samardžić, Nikola. "The jazz avant-garde in the American economy." New Sound, no. 47 (2016): 75–86. http://dx.doi.org/10.5937/newso1647075s.
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Jazz originated and evolved in a free market economy and complex mutual relations with unregulated social conjuncture. Coping with social challenges during the Progressive era (1890-1920) contributed to the partial emancipation of marginalized groups; however jazz, in its first decades, remained directed to the general need for mass entertainment (the "jazz era" in the 1920s). The artistic development of jazz was therefore temporarily delayed during the economic crisis, Great Depression and the new recession of the late 1930s (1929-1938). The first movement in jazz that could be considered to be an art for art's sake, while renouncing any populist elements, appeared in 1939 Coleman Hawkins' Body and Soul recording. Market and social conditions for the emergence of the avant-garde began to mature only during the years after 1945, within a new business cycle in the US economy. The prosperous and conformist decade of the 1950s stabilized the middle class and directed general social preferences towards the benefits of higher education. European immigration from the inter-war period, and a new wave of immigration at the end of the Second World War enabled the growth of American universities in terms of quality and social influence. Universities recruited the jazz avant-garde audience, and supported other progressive art movements in the 1960s "decade of turbulence, protest, and disillusionment". Thanks to market support, the jazz avant-garde managed to survive free of the influences of state institutions, as John Coltrane's Love Supreme, often listed amongst the greatest jazz albums of all time, was sold in about 500,000 copies by 1970. A similar development, with the emergence of the baby-boom generation in the late 1960s, has contributed to the maturing of European avant-garde audiences and markets (ECM, 1969). The study will also examine avant-garde movements in relation to historical changes in economic and social disparities, from the thirties to the early 1970s.
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Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.
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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.
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Тарасова, Н. Ю., and Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 171–85. http://dx.doi.org/10.33287/221914.
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The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmonious, accord-tonal, form-forming means of expressiveness of jazz and music of the twentieth century. Conclusions. The interaction of the jazz language with the academic tradition essentially influenced the renovations of the genre in the suites „1922ˮ by P. Hyndemith and „Suite Sentimentsˮ by Y. Chugunov. Jazz influence has contributed to: 1) individualization of the musical decision of the suite, increase of unique expressiveness (skepticism about dance in Hindemith, rich and dynamic palette of lyrical feelings, with contrast of contemplation and mobility in Chugunov); 2) release of the genre character and structure of the cycle from Baroque-classical genre-structural normativity (in the first work, the dance genres of music of the twentieth century, in the second – different emotional states, become decisive); 3) combining the form of a suite cycle (not a simple sequence of plays based on theestablished tempo principle, but a plastic improvisational transition, with the loss of the boundaries of the parts) (in „Suite of Sentiments” by Chugunov), with a through metro rhythm and internal unification with ironic author overtones expressed by harmonic, textured and rhythmic means (in the Suite „1922ˮ by Hindemith); 4) the formative role of rhythm formulas of jazz music (emphasizing weak parts, syncopation, rhythmic brokenness of melody, triple rhythm formulas and unstable formulas with small rhythmic meters), typical jazz performing techniques (fermat, „hangs”, discontinued melodies) and Latin American music of harmonic means (movement by parallel chords, active use of trio sounds, seventh chords, non-chords with alterations), jazz features of intonation (false fingering); 5) application of compositional features of ragtime, swing (cadences, improvisations, repetitions).
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Ferreira Junior, José, and Antonio Carlos Araújo Ribeiro Junior. "Prometeus desacorrentados: a influência do discurso nacionalista dos anos 60 no processo de (des)construção do jazz brasileiro * Prometheus unleashed: the nationalism speech influence in the process of (de)construction of brazilian jazz." História e Cultura 6, no. 2 (September 10, 2017): 267. http://dx.doi.org/10.18223/hiscult.v6i2.2050.
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O artigo faz uma análise inicial do discurso nacionalista dos anos 1960, tentando investigar até que ponto os embates políticos e ideológicos desse período influíram nos rumos do jazz brasileiro. Uma vez que não se tem um consenso até hoje no âmbito da crítica musical para denominar e caracterizar o jazz tocado no Brasil, divergindo-se entre os rótulos “jazz brasileiro” e “música instrumental brasileira”. Acredita-se que alguns fatores contribuíram para esse cenário, por exemplo: o conservadorismo da crítica contra o teor antropofágico dos músicos brasileiros; o estabelecimento da canção popular, e de seu aspecto político, como fator fundamental de autenticidade musical; e, por fim, a ideia de um jazz como música alienante, corroborada pela intelligentsia da Música Popular Brasileira – conhecida como MPB, conceito hegemônico a partir da segunda metade do século XX.
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HOLLERBACH, PETER. "(Re)voicing tradition: improvising aesthetics and identity on local jazz scenes." Popular Music 23, no. 2 (May 2004): 155–71. http://dx.doi.org/10.1017/s0261143004000121.
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Historically, the field of ethnomusicology has tended to neglect the lives and work of individual musicians in favour of a view of music as culture, a disciplinary perspective that has assumed the homogeneity of the world's cultures. Contesting this erasure of the musical subject, biographical micro-histories situate the individual at the centre of music studies. Accordingly, the subject of this article is a self-identified ‘local’ jazz musician, whose narrative elucidates the exigencies of his musical and social life. One of the music's ‘lesser lives’, ‘LC’ is typical of those players who negotiate the contested terrain of jazz scenes peripheral to the jazz world's centre, New York City. The explication of his musical aesthetic and its influence upon his self-image as a jazz musician is directed toward a more representative view of jazz than that of institutionalised histories, which promulgate a ‘Great Man’ narrative. Incorporating contemporary discourse and critical race theories as alternatives to traditional modes of aesthetic inquiry, this study unpacks issues related to musical and social dialogism and signification, ‘voice’ and identity, and race and masculinity as a means of illuminating those criteria deemed crucial by a particular musician in his search for existential meaning and a jazz truth.
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Arzamastseva, Olesya V., and Larisa A. Tyurina. "Features of the development of a professional singing sound of pop-jazz performers in the process of teaching performance skills." Tambov University Review. Series: Humanities, no. 191 (2021): 123–29. http://dx.doi.org/10.20310/1810-0201-2021-26-191-123-129.
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The urgency of vocational training for pop-jazz musicians is substantiated. The aim of the study is to determine the necessary components in the work on professional sound production in the process of teaching pop-jazz vocal, as well as to demonstrate some ways to increase the effi-ciency of work on sound in the classroom. The issues of the development of a professional singing voice in the process of teaching pop-jazz performance are considered. The research methods in-cluded: study of special literature, analysis and generalization of research and pedagogical expe-rience of the work of leading specialists in the field of music education and performance. The high degree of influence of the level of professional training of performers-vocalists on the national musical culture is proved. Practical recommendations for work on singing sound production in the process of professional training of pop-jazz singers in modern music educational institutions are presented.
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Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.
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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipations” (D. Terentiev), which has its own specifics in saxophonejazzimprovisation. Being one of the style “emblems” of jazz, saxophone combines the specifics and universalism of its aggregate sound, which makes its sound image communicatively in-demand. It was emphasized that the methodology and methodic of the topic presented in this work need to be concretized on the example of saxophone jazz styles, which offers prospects for further studies of this topic. The theory of jazz improvisation inevitably includes the question of instrument (instruments, voices) used to make it. At this point, we need to tap into information about the instrumental-type style (style of any types of music according to V. Kholopova) available in jazz practice in both of its historical forms: traditional and contemporary. Saxophone becomes one of the key objects of this study, being an instrument of new type capable of conveying the entire range of jazz intoning shades represented in such origins of jazz as blues, ballad, religious chants, popular “classical music”, academic instruments. To generalize, it is worth noting that information about saxophonejazzimprovisation is concentrated in two areas of study: organological (jazz instruments and their use: solo, ensemble, orchestral) and personal (portraits of outstanding jazz saxophonists made, as a rule, in an overview and opinionbased style). The historical path of saxophone as one of the most in-demand instruments of jazz improvisation was quite tortuous and thorny. The conservative public considered this instrument “indecent” and believed that its use in jazz does not meet the requirements of high taste (A. Onegger). It was emphasized that specifics of jazz saxophone sound indeed lay in the instrumentalization of expressive vocal and declamatory intonations originating from blues with its melancholy and “esthetics of crying”. It is manifested especially vividly, and with even greater share of shock value than in jazz, in the use of saxophone in rock music, which exerted reverse influence over jazz that gave birth to it (V. Ivanov). The timbre-articulatory diversity found in saxophone is identified when taking its organological characteristics out of the dialectics of the pair of notions “specifics – universalism”, where the deepening of the former (specifics) means overcoming thereof towards the latter, universalism (E. Nazaikinskyi). As a result, we have a textural style of saxophone based on melodic nature of this instrument, its specific timbre enriched by the influence of other instrumental sounds, including trumpet, piano, and later, electric guitar. Among the existing definitions of texture in music, there are three key, determinant parameters of the approach to the study of texture style of saxophone in jazz. The first of them is spatial-configurative (E. Nazaikinskyi), the second is procedural-dynamic (G. Ignatchenko), and the third is performance-based (V. Moskalenko). On aggregate, the textural style of jazz saxophone is defined in this article as the synthesis of the instrument’s “voice” and the “voice” of the improviser saxophonist. The former defines the typical in this style, and the latter defines the individual, unique. The specifics of texture in jazz, including saxophone jazz, are special, because this improvisation art does not have the component of final “finishing” of musical fabric. The formulas existing in saxophone jazz texture are divided into three types: specific (typical for jazz itself), specifized (stemming from the folklore and “third” layers), and transduction-reduction (according to S. Davydov, borrowed from the academic layer). The syntactic composition of saxophone jazz improvisation correlates by the textural one, taking the shape of textural-structural components (a term by G. Ignatchenko) – units of the first scaled level of the perception of form, which are related to the one and the other. The mechanism of anticipation – a forestalling perception of the next segment of the process of improvisation, and the intuitionallogical orientation of an improviser saxophonist toward the number “7” have great significance (E. Barban). Like in academic practice, syntax in jazz improvisation is built on the basis of “stability” and “instability” semantics (D. Terentiev), forming a complex system of paradigms and syntagmas (the former are typical for traditional jazz, the latter for contemporary one). The rules of jazz improvisation semantize, because the most important thing for a jazz musician is the process, not the result. At this point, the aspect of temporal distance from the “cause” to the “effect” becomes especially distinguishable: the farther they are from each other the less predictable improvisation becomes, and vice versa. The process of improvisation is largely structured by choruses, which represent sections of a form related to variant reproduction of a theme (standard theme or author’s theme). In addition, improvisation (including saxophone improvisation) may contain elements of general forms of sound used as the bridges connecting sections inside choruses.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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Macías, Anthony. "California’s Composer Laureate." Boom 3, no. 2 (2013): 34–51. http://dx.doi.org/10.1525/boom.2013.3.2.34.
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This essay uses the 1960s, Gerald Wilson’s most prolific period, as a window into his life and work as a big band jazz trumpeter, soloist, arranger, conductor, and composer. This selective snapshot of Wilson’s career inserts him more fully into jazz—and California—history, while analyzing the influence of Latin music and Mexican culture on his creations. Tracing the black-brown connections in his Alta California art demonstrates an often-overlooked aspect of Wilson’s musical legacy: the fact that he wrote, arranged, recorded, and performed Latin-tinged tunes, especially several brassy homages to Mexican bullfighters, as well as Latin jazz originals. Wilson’s singular soul jazz reveals the drive and dedication of a disciplined artist—both student and teacher—who continually honed his craft and expanded his talents as part of his educational and musical philosophy. Wilson’s California story is that of an African American migrant who moves out west, where he meets a Chicana Angelena and starts a family—in the tradition of Cali-mestizaje—then stays for the higher quality of life, for the freedom to raise his children and live as an artist, further developing and fully expressing his style. However, because he never moved to New York, Wilson remains under-researched and underappreciated by academic jazz experts. Using cultural history and cultural studies research methods, this essay makes the case that Gerald Wilson should be more widely recognized and honored for his genius, greatness, and outstanding achievements in the field of modern jazz, from San Francisco to Monterey, Hollywood, and Hermosa Beach.
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Early, Gerald. "Ode to John Coltrane: A Jazz Musician's Influence on African American Culture." Antioch Review 57, no. 3 (1999): 371. http://dx.doi.org/10.2307/4613886.
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Kleppinger, Stanley V. "On the Influence of Jazz Rhythm in the Music of Aaron Copland." American Music 21, no. 1 (2003): 74. http://dx.doi.org/10.2307/3250557.
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Cameron, Rebecca. "‘Syncopated Nerves’: Jazz and the Pathology of Modern Youth in Noël Coward's 1920s Theatre." Modernist Cultures 15, no. 2 (May 2020): 179–201. http://dx.doi.org/10.3366/mod.2020.0288.
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This paper explores the intersection of jazz culture and popular discourse on nervous disorders in Britain in the 1920s through Noël Coward's plays and revues. In the wake of the First World War, a popular view emerged that the nation was suffering from a form of collective shell-shock – that nervous disorders or ‘nerves’ had never been more rampant and the population never more vulnerable to nervous breakdown. At the same time, anxieties surfaced about American jazz culture and its influence on British youth. The result was a pathologized youth culture that became emblematic of a nation in decline. Several of Coward's early works from the 1920s – specifically, his play The Vortex (1924) and his popular revues On with the Dance (1924–25) and This Year of Grace! (1928) – participate in linking jazz culture with the nervous symptoms of an unhealthy era. However, rather than reinforcing normative judgments that cast jazz or youth culture as the cause of the nation's nervous instability, Coward uses nervous symptoms to characterize a sensitive, vulnerable younger generation that is floundering because the older generation, particularly the leisured Society set, has failed to provide a stable moral foundation at a time of national distress.
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Abeßer, Jakob, and Meinard Müller. "Jazz Bass Transcription Using a U-Net Architecture." Electronics 10, no. 6 (March 12, 2021): 670. http://dx.doi.org/10.3390/electronics10060670.
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In this paper, we adapt a recently proposed U-net deep neural network architecture from melody to bass transcription. We investigate pitch shifting and random equalization as data augmentation techniques. In a parameter importance study, we study the influence of the skip connection strategy between the encoder and decoder layers, the data augmentation strategy, as well as of the overall model capacity on the system’s performance. Using a training set that covers various music genres and a validation set that includes jazz ensemble recordings, we obtain the best transcription performance for a downscaled version of the reference algorithm combined with skip connections that transfer intermediate activations between the encoder and decoder. The U-net based method outperforms previous knowledge-driven and data-driven bass transcription algorithms by around five percentage points in overall accuracy. In addition to a pitch estimation improvement, the voicing estimation performance is clearly enhanced.
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Pratiwi Susilowati, Dede, and Emzir Emzir. "AGRESIVITAS TOKOH DALAM NOVEL JAZZ, PARFUM, DAN INSIDEN KARYA SENO GUMIRA AJIDARMA (Suatu Kajian Psikologi Sastra)." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 16, no. 2 (July 2, 2017): 106–23. http://dx.doi.org/10.21009/bahtera.162.07.
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AbstrakPenelitian ini bertujuan untuk mengetahui agresivitas tokoh dalam novel Jazz,Parfum, dan Insiden karya Seno Gumira Ajidarma dari pendekatan psikologisastra. Penelitian ini dilakukan bulan September 2016 hingga Juli 2017.Penelitian ini merupakan penelitian kualitatif dengan menggunakan metodeanalisis isi, dan sumbernya adalah novel Jazz, Parfum, dan Insiden. Jenisagresivitas yang paling banyak ditemukan adalah agresivitas langsung-aktifnonverbalsejumlah 91 (75,2%) data yang berupa tindakan merugikan orang lainsecara langsung. Kemudian tujuan agresivitas yang paling menonjol sebanyak 7(70%) data, tujuan agresivitas tersebut untuk menghentikan perilaku yang tidaksesuai, tujuan ini bukan untuk menyakiti korban. Lalu, sebab munculnyaagresivitas yang paling besar adalah faktor provokasi, provokasi terjadi karenaberbagai pihak saling memanasi sehingga agresi muncul, faktor provokasi iniditemukan sebanyak 3 (75%) data. Lalu dampak agresi yang menonjol dalampenelitian ini adalah kematian, kematian terjadi karena agresi sudah terlalu parah.Dampak kematian ditemukan sebanyak 12 (42,8%) data. Yang terakhir solusimengurangi agresi paling banyak ditemukan adalah hukuman, seperti dipenjara,ditahan sebanyak 9 (90%) data. Dalam novel Jazz, Parfum, dan Insiden terdapatnilai-nilai positif untuk membangkitkan pandangan pembaca terhadap kehidupannyata, khususnya mengenai rasa empati, simpati pada sesama manusia.Kata kunci: Agresivitas, Tokoh, Novel, Seno Gumira Ajidarma.
AbstrackThis research is purposed to analysze the character’s aggresiveness from Jazz,Parfum, and Insiden, a novel by Seno Gumira Ajidarma. This research has startedat September 2016 and end at July 2017. By using content analysis for it ismethod, this kind of research is qualitative research, on the based Jazz, Parfum,and Insiden. Some type of aggressiveness oftenly found in this research is kind ofdirect-active-nonverbal, amount 91 (75,2%) data which is such action thatdirectly disserving people. Then the dominant purposes of aggressiveness is amount 7 (70%) data, this kind of aggressiveness takes order to stopunappropriate behaviour, not to harm victims. Then the biggest cause ofaggressiveness is based on provocative factors, that appears as if each side ofgroups keep provoking and raise aggression up. There are 3 (75%) datas amountthis factor. Then the most dominant influence of aggression in this research is thedeath caused by highly ruthless aggression. This kind of death influence is amount12 (42,8%) data. The last is the mostly solution found to ease aggressiveness ispunishment, which are imprisoned or arrested, amount 9 (90%) datas of them. Inthe Jazz, Parfum, and Insiden novel, there are positive values to raise up thereaders perspective about reality, some of them are especially empathy, andsympathy among human beings.Keywords: aggressiveness, aggression, character, novel, Seno Gumira Ajidarma.
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Nogaj, Anna Antonina, Izabela Czarnecka, and Roman Ossowski. "Differences in the stress coping styles and social skills between classical and jazz musicians." Roczniki Psychologiczne 22, no. 4 (June 29, 2020): 337–52. http://dx.doi.org/10.18290/rpsych.2019.22.4-3.
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The musical milieu raises a number of challenges for artists. Coping with these depends not only on the level of musical abilities but also on a number of personal skills. The diverse styles of music education and the expectations set for musicians performing various music genres have inspired research exploring the differences between classical and jazz musicians. Of the psychological areas important for functioning effectively as a musician, stress management styles and social skills have been examined in this study. It was assumed that the genre of publicly performed music, and thus the different modes of music education in the field of classical and jazz music performance, can cause significant differences in the psychological functioning of musicians. Of the 73 musicians who participated in the study, 38 were classical musicians and 35 were jazz musicians. The jazz musicians revealed a significantly higher level of social competence in terms of social exposure compared to the classical musicians. There were no differences in the style of coping with stress between the two groups. The results of the study might inspire psychologists working with musicians to plan therapeutic programs aimed at psychological preparation for public performances, with the specificity of musical genres taken into account. Future research may investigate the extent temperament and personality of musicians representing different specialties influence their stress coping strategies and social skills.
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LIU, WANLI, DAVID H. ALBONESI, JOHN GOSTOMSKI, LLOYD PALUM, DAVE HINTERBERGER, RICK WANZENRIED, and MARK INDOVINA. "AN EVALUATION OF A CONFIGURABLE VLIW MICROARCHITECTURE FOR EMBEDDED DSP APPLICATIONS." Journal of Circuits, Systems and Computers 13, no. 06 (December 2004): 1321–45. http://dx.doi.org/10.1142/s0218126604001994.
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The last decade has witnessed a significant increase in processor offerings geared towards embedded DSP applications. Such processors are commonly VLIW architectures with special ISA and/or microarchitecture features for speeding up signal processing functions and customization options to improve cost/performance. The Jazz Programmable System Architecture from Improv Systems is one such processor offering. Jazz employs a VLIW architecture which is well-suited to the characteristics of embedded DSP applications such as voice over packet, media processing, and home connectivity. The microarchitecture incorporates overlaid datapaths, distributed register file and memory systems, code compression, and parallel computation and memory access. Jazz permits design-time configuration in an attempt to bridge the gap between the flexibility of a programmable processor and the cost-benefit of full customization. In this paper, we explore the cost/performance tradeoffs of the Jazz microarchitecture on various embedded multimedia applications using a detailed cycle-level simulator as well as area and power models. Through a comparison of the performance, power, and area of different hardware configurations running these applications, we demonstrate how the configurability of the architecture affords a cost-performance benefit over a fixed microarchitecture. Key features of the microarchitecture are quantitatively evaluated in terms of their influence on performance. The relationship between compiler optimizations and processor performance is also explored.
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Farrell, Gerry. "Reflecting surfaces: the use of elements from Indian music in popular music and jazz." Popular Music 7, no. 2 (May 1988): 189–205. http://dx.doi.org/10.1017/s0261143000002750.
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In this article I explore the manner in which elements from a non-Western music appear in pop music and jazz. The music under discussion is that of the Indian subcontinent and the classical music of North India in particular. The essay covers references to Indian music in pop, rock and jazz from the sixties to the present day but concentrates mainly on the sixties and seventies, and, in the world of pop, on the music of the Beatles. The influence of orientalism on Western music is not a recent phenomena, as Reck (1985) notes, but its appearance in pop during the sixties meant that it reached a larger audience than ever before.
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Coady, Christopher, and Michael Webb. "Resisting Best-Practice in Australian Practice-Based Jazz Doctorates." British Journal of Music Education 34, no. 1 (October 25, 2016): 71–80. http://dx.doi.org/10.1017/s0265051716000310.
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Recent research on practice-based doctorates in Australia has revealed an institutional preference for ‘theorised’ research approaches aimed at situating studies of practice within established academic paradigms. In this article we examine how the aim of communicating with artistic peers steers the research design and the production of text-based artefacts for a group of practice-based doctoral students working on jazz topics (n = 11) away from theorised approaches and towards what is commonly referred to as a ‘commentary’ approach. This finding reveals the extent to which the values of an artistic community can influence the scope of what is discussed within practice-based doctorates and highlights the need for ongoing discussion related to how such values might best interface with what institutions view as best-practice research frameworks.
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Wilkinson, Christopher. "The Influence of West African Pedagogy upon the Education of New Orleans Jazz Musicians." Black Music Research Journal 14, no. 1 (1994): 25. http://dx.doi.org/10.2307/779457.
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Kähäri, Kim, Mats Eklöf, Leif Sandsjö, Gunilla Zachau, and Claes Möller. "Associations Between Hearing and Psychosocial Working Conditions in Rock/Jazz Musicians." Medical Problems of Performing Artists 18, no. 3 (September 1, 2003): 98–105. http://dx.doi.org/10.21091/mppa.2003.3018.
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A study on the assessment of hearing and hearing disorders in rock/jazz musicians concluded that 74% of the musicians had some kind of disorder. The main hearing disorders found were pure-tone hearing loss, tinnitus (an acoustic sensation of sounds), hyperacusis (a hypersensitivity to low or moderate sound levels), and distortion (music sounds out of tune). Affected musicians often were able to give the exact time of the first appearance of the hearing disorders, which often was associated with a period of excessive sound exposure, high workload, or some form of emotional stress. The aim of this study was to explore associations between psychosocial work conditions, mental load, and hearing disorders in rock/jazz musicians. A total of 139 (43 women and 96 men) voluntarily participating rock/jazz musicians answered a questionnaire on psychosocial work conditions and mental load. The data were correlated to hearing and sex. The median age was 35 years in the women and 37 years in the men. Results showed that rock/jazz musicians do not generally experience themselves as stressed at work. The influence of working conditions is good, and the work consists mainly of attractive tasks. In men, hyperacusis was associated with higher psychological demands, greater difficulty in relaxing after work, higher stress during individual preparation, not getting enough sleep, and higher perceived sound level. In women, tinnitus was associated with greater difficulty in relaxing after work and less energy during musical performances. No strong correlation between psychosocial parameters and hearing loss was found. Positive and negative effects of stress on hearing are discussed.
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Ponkina, Antonina M. "THE INFLUENCE OF JAZZ ON THE EVOLUTION OF THE ACADEMIC ART OF PLAYING THE SAXOPHONE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 34 (June 2019): 137–44. http://dx.doi.org/10.17223/22220836/34/13.
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Kinzer, Charles E. "The Tios of New Orleans and Their Pedagogical Influence on the Early Jazz Clarinet Style." Black Music Research Journal 16, no. 2 (1996): 279. http://dx.doi.org/10.2307/779332.
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Kočan, Kristina. "Problems in Translating Musical Elements in African American Poetry after 1950." ELOPE: English Language Overseas Perspectives and Enquiries 6, no. 1-2 (June 15, 2009): 45–60. http://dx.doi.org/10.4312/elope.6.1-2.45-60.
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In most cases, African American poetry eschews traditional literary norms. Contemporary African American poets tend to ignore grammatical rules, use unusual typography on many occasions, include much of their cultural heritage in their poetry, and interweave musical elements into literary genres. The influence of such musical genres as jazz, blues, soul, and gospel, together with the dilemmas that occur for the translator, will be shown to great extent, since music, like black speech, is a major part of African American culture and literature. The translator will have to maintain the specific African American rhythm, blues adaptations and the improvisational language under the jazz impact. The paper presents the problems in translating post-1950 African American poetry into Slovene, and asks to what extent can one successfully transfer the musical elements within this poetry for the target culture? Inevitably, it will identify a share of elements that are lost in translation.
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Helmiawan, Martinus. "Bossa Nova: the reinvention and reinvigoration of samba in the 1950s." Paradigma, Jurnal Kajian Budaya 3, no. 2 (February 16, 2016): 169. http://dx.doi.org/10.17510/paradigma.v3i2.42.
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<p>In a society where music becomes the core of its people’s life, many discourses emerge and root in music. In Brazil, for instance, samba as the national music represents the chronicle of the Brazilians, which starts from the slavery in eighteenth century. However, at the start of the era of Brazil’s modernism in 1950s, samba was deemed stagnant. It was unable to cope with the fast developments of Brazil’s politics, societies, and cultures. This essay observes the history of samba, investigates the reasons why samba becomes stagnant and reviews the efforts made to revitalize it through the invention of Bossa Nova. In the process of redefining samba, American jazz plays an important role as the agent which brings modernity and revolution to the original samba. The ideology of the Brazilian urban middle class is also important, as well as Brazilian 1950s musicians’ efforts such as Antonio Carlos Jobim, Joao Gilberto, or Vinicius de Moraes. This paper aims to analyze Bossa Nova’s contributions in revitalizing and redefining samba, with its jazz influence which could be traced from the ideology of the Brazilian urban middle class. The paper also highlights the contradiction between foreign influences and traditional heritages in the music.</p>
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Juen, Sarah Anna. "Between Jazz, Cherry Blossoms, and Baseball: Transculturality in the Publications of Murakami Haruki." Vienna Journal of East Asian Studies 9, no. 1 (December 1, 2018): 59–84. http://dx.doi.org/10.2478/vjeas-2017-0003.
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Abstract In this day and age a continuous flow of ideas and culture takes place, which is part of the globalisation process. These exchanges influence the development of a transcultural literature. Murakami Haruki is not only a transcultural writer, but one of the most popular and internationally acclaimed authors of contemporary Japanese literature who has changed the literary scene in Japan since the publication of his debut novel Kaze no uta o kike (Hear the Wind Sing). Murakami has experimented with postmodern expressions and eventually developed his own writing style, which integrates elements of Western cultures into his works. This paper focuses on the author’s transcultural strategy, which is often reflected in his choice of the setting and time frame, the frequent mentioning of cultural consumer goods and linguistic features such as the utilisation of loanwords. In particular, references to music and literature play a major role in Murakami’s publications. This paper analyses how and to what extent transculturality influences the characters, their actions, and the storyline on the basis of the short story “Nemuri” (Sleep) published in 1989. In the process it is concluded that, above all, these references underpin aspects such as the search for identity, the escape into ‘another world’, and the rejection of societal norms and values.
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Clarke, Frances, Yiannis Koutedakis, Margaret Wilson, and Matthew Wyon. "Associations Between Balance Ability and Dance Performance Using Field Balance Tests." Medical Problems of Performing Artists 34, no. 3 (September 1, 2019): 154–60. http://dx.doi.org/10.21091/mppa.2019.3026.
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AIMS: Although balance is a key element of dance, it remains to be confirmed which balance components are associated with dance performance. The aim of this study was to assess the associations between different field balance tests and dance performance in an in-house measure in ballet, contemporary, and jazz genres. METHODS: 83 female undergraduate dance students (20±1.5 yrs, 163.04±6.59 cm, 60.97±10.76 kg) completed the Star Excursion Balance Test (SEBT), the airplane test, a dance-specific pirouette test, the modified Romberg test, and the BioSway™ Balance System. Results from these balance tests were compared to the participants’ technique and repertoire performance scores in ballet, contemporary, and jazz genres. RESULTS: Ballet scores were best predicted by SEBT 90° and Romberg for technique (r=0.4, p=0.001, SEE ±2.49) and Romberg, SEBT 90°, and SEBT 225° for repertoire (r=0.51, p=0.001, SEE±1.99). Contemporary data indicated SEBT 90° and Romberg for technique (r=0.37, p=0.001, SEE±2.67) and SEBT 225° for repertoire (r=0.27, p=0.015, SEE±2.29). Jazz indicated SEBT 90°, Romberg, SEBT 315°, and SEBT 225° for technique (r=0.51, p=0.001, SEE±2.28) and SEBT 225° and Romberg for repertoire (r=0.41, p=0.001, SEE±2.29). CONCLUSION: The present study suggests that balance ability has a limited influence on dance performance, with existing field balance tests demonstrating low to moderate associations with dance technique and repertoire.
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Coppola. "From Clubs to Concert Halls: The Influence of Performance Venue on Collective Identity Formation in Jazz." Jazz Education in Research and Practice 2, no. 1 (2021): 135. http://dx.doi.org/10.2979/jazzeducrese.2.1.09.
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Drevon, Guillaume, Luca Pattaroni, Lucien Delley, Fabien Jacot-Descombes, and Nils Hamel. "Rhythmanalysis of Urban Events: Empirical Elements from the Montreux Jazz Festival." Urban Planning 5, no. 2 (June 30, 2020): 280–95. http://dx.doi.org/10.17645/up.v5i2.2940.
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This article proposes an original approach to urban events mapping. At the theoretical level, the article is based on rhythmanalysis and recent research on urban rhythms. It contrasts with previous research by departing from everyday rhythms to tackle the specific rhythms of urban events. Drawing on this theoretical framework, the article proposes to analyse the rhythms of the Montreux Jazz Festival. The article proposes two main types of rhythmic scales, linked with the historical development of the Festival and its annual performance. The methodology is based on a mixed method of data collection and an original analysis framework. The analysis of the historical rhythm is carried out based on the analysis of the festival archives and interviews with experts. The analysis uses the Time Machine visualisation device that reveals three processes of urban resonance: the spread, which shows how the festival is integrated into the existing urban fabric; the openness, which shows accessibility; and the grip, which seeks to evaluate the urban sphere of influence of the event. These different visualisations are enriched by the addition of other data, including ticket scanning and commercial transactions that show the alternance between high and low-intensity periods. These allowed us to not only confirm the impact of programming on flows, but also the effects of the wider organisation of the leisure system. The results of the analysis show that the intertwining of the two rhythmic scales produces a hyper-place that resonates both internationally and locally.
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John, Eckhard, and Michael J. Budds. "Jazz & the Germans. Essays on the Influence of "Hot" American Idioms on 20th-Century German Music." Lied und populäre Kultur / Song and Popular Culture 48 (2003): 322. http://dx.doi.org/10.2307/4147851.
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Casas-Mas, Amalia, Juan Ignacio Pozo, and Ignacio Montero. "The influence of music learning cultures on the construction of teaching-learning conceptions." British Journal of Music Education 31, no. 3 (April 1, 2014): 319–42. http://dx.doi.org/10.1017/s0265051714000096.
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Current research in music education tends to put the emphasis on learning processes outside formal academic contexts, both to rethink and to renew academic educational formats. Our aim is to observe and describe three music learning cultures simultaneously, including formal, non-formal and informal settings: Classical, Jazz and Flamenco, respectively. We observed the conceptions of learning, teaching and evaluation within the framework of implicit theories. We used multiple-choice questionnaires to infer the profiles of these conceptions in 30 guitarists who are starting out on their professional careers in the three cultures and analysed whether there are related profiles. The results show that: (a) the Flamenco culture differs significantly from the others in the conception of teaching; (b) the three cultures are most alike in the conception of evaluation, for which conceptions are more sophisticated; (c) the classical culture is closer to constructive conceptions and farther from direct positions, while the opposite is true of Flamenco.
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Yukins, Elizabeth. "An “Artful Juxtaposition on the Page”: Memory, Perception, and Cubist Technique in Ralph Ellison's Juneteenth." PMLA/Publications of the Modern Language Association of America 119, no. 5 (October 2004): 1247–63. http://dx.doi.org/10.1632/s0030812900101725.
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While scholars have appreciated the influence of jazz on Ralph Ellison's compositional strategies, this essay examines how Ellison's interest in the visual idiom of modernism—namely, cubism—influenced the prose style of his posthumously published novel Juneteenth. Evidenced by his friendship with Romare Bearden and his expressed fascination with the visual arts, Ellison's knowledge of cubist practice informed his textual experiments with time, space, and the narrative rendering of memory. Cubist techniques such as fragmentation and the combining of multiple perspectives offered Ellison formal methods to configure the complex consciousness of his main characters and the vexed history of race relations in America. His literary and political visions meet in the mercurial relation between fragmentation and pluralism, for in his multifaceted, nonlinear prose one sees the fraught simultaneity of past and present, memory and vision, historical violence and continued democratic aspiration.
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Boldyreva, Vera, Aleksandr Keyno, and Mikhail Bogdanov. "Elements usage of jazz gymnastics in the choreographic training of 12–14 years old “rhythmic” gymnasts." Tambov University Review. Series: Humanities, no. 183 (2019): 112–17. http://dx.doi.org/10.20310/1810-0201-2019-24-183-112-117.
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The Russian school of gymnastics is distinguished by the high performing skills of female athletes, a wide range of styles, the composition integrity, which is achieved with the help of choreographic training. The concept of “choreography” includes everything that relates to the art of classical, folk, historical and everyday, modern dance. Choreographic training in gymnastics is understood as a system of exercises and influence methods aimed at nurturing the motor culture of the gymnasts, at expanding their arsenal of expressive means. In addition, when practicing chore-ography, flexibility and coordination of movements develops, strengthens the musculoskeletal system, increases the density of the workout, which has a positive effect on the cardiovascular and respiratory systems of the body, contributes to the development of special endurance. Along with this, choreography lessons solve technical training problems: mastering various elements and combinations, an individual image in the composition. To create an image, expressiveness is in-dispensable, which is inextricably linked with the beauty of the movements, grace, dancing character, etc. A choreographer in rhythmic gymnastics has to work with a constant shortage of time, since choreographic training is only part of the training process. This time is not enough for the full development of the “rhythmic” gymnasts’ choreography. A characteristic feature of training in jazz gymnastics is the performing of exercises that fully activate the body’s motor system, with the participation of the greatest possible number of muscle groups. Also for those engaged in jazz gymnastics is characteristic dynamism, expression, together with wide and smooth movements. The nature of the movements is expressive. All this contributes to the development of “rhythmic” gymnasts’ choreography. Analysis of scientific literature and practical experience indicates the lack of jazz gymnastics use in the choreographic training of “rhythmic” gymnasts. Our research is related to the development of this particular direction, which determines its relevance.
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Beznisko, Oksana N., and Diana S. Karbulyan. "Modern Trends in Scenic Genres as the Subject of Study in the Course of History of Variety and Jazz Music (Using the Example of the Rock Opera “The Legend of Xentaron”)." Musical Art and Education 7, no. 2 (2019): 96–108. http://dx.doi.org/10.31862/2309-1428-2019-7-2-96-108.
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The work explores the interaction of the structure and content of the modern musical and scenic genre, rock opera. On the basis of the rock opera “The Legend of Xentaron” staged by “Epidemic”, a Russian power metal group, authors show characteristics of the rock opera of the 21st century, performing and instrumental structure, other components of the new musical and scenic action influencing the listener, the trend of influence of a genre of a fantasy on characteristic stylistic features of a genre of a rock opera is considered. The authors pay special attention to the analysis of dramaturgy in the rock opera “The Legend of Xentaron”, on the basis of which it is characterized as a mixed form, synthesizing the techniques of conflict and epic dramaturgy. At the same time, they revealed both typical and already traditional features for this musical stage genre, as well as modern trends in its evolution. This refers to such new features as: serial, formulas, stereotyping, replicability. The inclusion of the results in the study of “History of variety and jazz music” will help university students to get an idea about new trends in development of the phenomena of performing art, styles, genres, directions and the repertoire in the field of vocal and instrumental variety and jazz music.
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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.
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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.
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Naughton, Gerald David. "“The Whole Root Is Somewhere in the Music”: Jazz, Soul, and Literary Influence in James Baldwin and Caryl Phillips." ariel: A Review of International English Literature 44, no. 2-3 (2013): 113–39. http://dx.doi.org/10.1353/ari.2013.0020.
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Montalban Bravo, Guillermo, Rashmi Kanagal-Shamanna, Veronia Guerra, Jorge M. Ramos Perez, Danielle Hammond, Shilpa Paul, Kiran Naqvi, et al. "Clinical Outcomes and Influence of Mutation Clonal Dominance in Oligomonocytic and Classical Chronic Myelomonocytic Leukemia." Blood 136, Supplement 1 (November 5, 2020): 26–29. http://dx.doi.org/10.1182/blood-2020-137212.
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INTRODUCTION: The current WHO definition requires presence of persistent absolute monocytosis for the diagnosis of chronic myelomonocytic leukemia (CMML). Oligomonocytic CMML (O-CMML), defined by presence of clinical and pathological features of CMML in the presence of an absolute monocyte count (AMC) of 0.5-0.9x109/L and ³10% monocytes, has been proposed as a unique entity. To date, there is scarce data on the clonal architecture, optimal therapeutic management and survival outcomes of these patients (pts) compared to those with classical CMML. METHODS: We evaluated all untreated pts who met proposed diagnostic criteria of O-CMML treated at the University of Texas MD Anderson Cancer Center from 2000 to 2020. Whole bone marrow DNA was subject to 81 gene targeted next-generation sequencing (NGS) analysis in a subset of patients. Variant allele frequency (VAF) estimates were used to evaluate clonal relationships within each individual sample using Pearson goodness-of-fit tests and VAF differences. Response to therapy was assessed following MDS/MPN IWG response criteria. RESULTS: A total of 30 pts met criteria for O-CMML. Compared to a cohort of 271 pts with classical CMML, there were no significant differences in cytogenetic abnormalities based on CMML-specific prognostic scoring system (CPSS). NGS was available in 10 (33%) patients with O-CMML. Frequency of identified mutations and their VAFs are shown in Figure 1A and compared to that of the CMML cohort. Frequencies of mutations in ASXL1 (50% vs 49.1%, p=0.958), SRSF2 (60% vs 39.4%, p=0.198), TET2 (70% vs 49.1%, p=0.199) and RUNX1 (20% vs 19.4%, p=0.965) were similar in O-CMML and CMML with RAS pathway mutations (NRAS, KRAS, CBL, NF1, SETBP1, PTPN11) being more frequent in CMML compared to O-CMML (51.4% vs 20%, p=0.053). The median number of mutations was 4 (range 1-12), and 4 (range 0-8) in O-CMML and CMML (p=0.578), respectively. No significant differences in median VAFs for ASXL1 (28.2% vs 33.5%, p=0.503), SRSF2 (41.1% vs 45.7%, p=0.743), TET2 (30.4% vs 42.6%, p=0.342), RUNX1 (26.9% vs 32.7%, p=0.837), and RAS pathway mutations (21.6% vs 23%, p=0.197) were observed between both groups. Frequencies at which each mutation appeared as a dominant or minor clone are shown in Figure 1B. Mutations in RAS pathway were more likely to appear as minor clones in patients with O-CMML (71% vs 50%, p<0.001). Among O-CMML patients, therapy consisted of hypomethylating agents (HMA) in 17 (57%), intensive chemotherapy in 2 (9%) and other investigational agents in 4 (17%) pts. When evaluating pts treated with HMA, those with O-CMML had a higher complete response rate (53% vs 27%, p=0.032) and significantly longer median response durations compared to CMML (14.4 vs 6.6 months, p=0.046). A total of 6 (20%) patients underwent allogeneic stem-cell transplantation. Twelve (40%) pts progressed to CMML within a median of 13.5 months (range 3.8-102.8 months). Univariate analysis for survival revealed that diagnosis of O-CMML (HR 0.39, 95% CI 0.21-0.75, p=0.04), age (HR 1.06, 95% CI 1.00-1.13, p=0.039), and CPSS int-2/high (HR 2.59, 95% CI 1.72-3.89, p<0.001) predicted for OS. By multivariate analysis for OS, both age (HR 1.03, HR 1.01-1.51, p=0.003) and CPSS int-2/high (HR 2.63, 95% CI 1.73-3.98, p<0.001), but not O-CMML (HR 0.59, 95% CI 0.31-1.14, p=0.120) retained their significance. Pts with int-2/high CPSS O-CMML had similar outcomes to low/int-1 CMML (Figure 1C). Pts with low/int-1 O-CMML had a trend to improved outcomes and those with int-2/high CMML had significantly worse survival (Figure 1C). CONCLUSIONS: This data supports the revision of AMC threshold for the diagnosis of CMML. This data also supports that clinical and mutational features should guide confirmation of the diagnosis of CMML. Figure Disclosures Sasaki: Otsuka: Honoraria; Pfizer Japan: Consultancy; Novartis: Consultancy, Research Funding; Daiichi Sankyo: Consultancy. Jabbour:Adaptive Biotechnologies: Other: Advisory role, Research Funding; Pfizer: Other: Advisory role, Research Funding; AbbVie: Other: Advisory role, Research Funding; BMS: Other: Advisory role, Research Funding; Takeda: Other: Advisory role, Research Funding; Amgen: Other: Advisory role, Research Funding; Genentech: Other: Advisory role, Research Funding. DiNardo:Notable Labs: Membership on an entity's Board of Directors or advisory committees; AbbVie: Consultancy, Honoraria, Research Funding; ImmuneOnc: Honoraria; Calithera: Research Funding; Daiichi Sankyo: Consultancy, Honoraria, Research Funding; Jazz: Honoraria; MedImmune: Honoraria; Celgene: Consultancy, Honoraria, Research Funding; Agios: Consultancy, Honoraria, Research Funding; Takeda: Honoraria; Syros: Honoraria; Novartis: Consultancy. Konopleva:Genentech: Consultancy, Research Funding; Sanofi: Research Funding; Rafael Pharmaceutical: Research Funding; Reata Pharmaceutical Inc.;: Patents & Royalties: patents and royalties with patent US 7,795,305 B2 on CDDO-compounds and combination therapies, licensed to Reata Pharmaceutical; Kisoji: Consultancy; AstraZeneca: Research Funding; AbbVie: Consultancy, Research Funding; Cellectis: Research Funding; Forty-Seven: Consultancy, Research Funding; Ablynx: Research Funding; Stemline Therapeutics: Consultancy, Research Funding; Eli Lilly: Research Funding; F. Hoffmann La-Roche: Consultancy, Research Funding; Ascentage: Research Funding; Amgen: Consultancy; Calithera: Research Funding; Agios: Research Funding. Pemmaraju:Affymetrix: Other: Grant Support, Research Funding; DAVA Oncology: Honoraria; AbbVie: Honoraria, Research Funding; MustangBio: Honoraria; Blueprint Medicines: Honoraria; Roche Diagnostics: Honoraria; SagerStrong Foundation: Other: Grant Support; Celgene: Honoraria; Stemline Therapeutics: Honoraria, Research Funding; LFB Biotechnologies: Honoraria; Pacylex Pharmaceuticals: Consultancy; Plexxikon: Research Funding; Daiichi Sankyo: Research Funding; Cellectis: Research Funding; Samus Therapeutics: Research Funding; Incyte Corporation: Honoraria; Novartis: Honoraria, Research Funding. Kadia:Pfizer: Honoraria, Research Funding; Abbvie: Honoraria, Research Funding; BMS: Honoraria, Research Funding; Incyte: Research Funding; Astra Zeneca: Research Funding; Cellenkos: Research Funding; Novartis: Honoraria; JAZZ: Honoraria, Research Funding; Cyclacel: Research Funding; Astellas: Research Funding; Amgen: Research Funding; Pulmotec: Research Funding; Ascentage: Research Funding; Genentech: Honoraria, Research Funding; Celgene: Research Funding. Ravandi:Macrogenics: Research Funding; Xencor: Consultancy, Honoraria, Research Funding; AstraZeneca: Consultancy, Honoraria; Jazz Pharmaceuticals: Consultancy, Honoraria, Research Funding; Celgene: Consultancy, Honoraria; BMS: Consultancy, Honoraria, Research Funding; Amgen: Consultancy, Honoraria, Research Funding; Abbvie: Consultancy, Honoraria, Research Funding; Orsenix: Consultancy, Honoraria, Research Funding; Astellas: Consultancy, Honoraria, Research Funding. Daver:Bristol-Myers Squibb: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Pfizer: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Karyopharm: Research Funding; Servier: Research Funding; Genentech: Research Funding; AbbVie: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Astellas: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Novimmune: Research Funding; Gilead: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Amgen: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Trovagene: Research Funding; Fate Therapeutics: Research Funding; ImmunoGen: Research Funding; Novartis: Consultancy, Membership on an entity's Board of Directors or advisory committees; Celgene: Consultancy, Membership on an entity's Board of Directors or advisory committees; Jazz: Consultancy, Membership on an entity's Board of Directors or advisory committees; Trillium: Consultancy, Membership on an entity's Board of Directors or advisory committees; Syndax: Consultancy, Membership on an entity's Board of Directors or advisory committees; Amgen: Consultancy, Membership on an entity's Board of Directors or advisory committees; KITE: Consultancy, Membership on an entity's Board of Directors or advisory committees; Agios: Consultancy, Membership on an entity's Board of Directors or advisory committees; Daiichi Sankyo: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding. Borthakur:Nkarta Therapeutics: Consultancy; Treadwell Therapeutics: Consultancy; Oncoceutics: Research Funding; Curio Science LLC: Consultancy; FTC Therapeutics: Consultancy; BioLine Rx: Consultancy; BioTherix: Consultancy; PTC Therapeutics: Consultancy; Argenx: Consultancy; Abbvie: Research Funding; Cyclacel: Research Funding; GSK: Research Funding; Jannsen: Research Funding; BioLine Rx: Research Funding; Incyte: Research Funding; PTC Therapeutics: Research Funding; AstraZeneca: Research Funding; BMS: Research Funding; Novartis: Research Funding; Xbiotech USA: Research Funding; Polaris: Research Funding. Kantarjian:Pfizer: Honoraria, Research Funding; Aptitute Health: Honoraria; Immunogen: Research Funding; BMS: Research Funding; Ascentage: Research Funding; Janssen: Honoraria; Actinium: Honoraria, Membership on an entity's Board of Directors or advisory committees; Delta Fly: Honoraria; Adaptive biotechnologies: Honoraria; Jazz: Research Funding; Oxford Biomedical: Honoraria; Daiichi-Sankyo: Honoraria, Research Funding; Amgen: Honoraria, Research Funding; Novartis: Honoraria, Research Funding; BioAscend: Honoraria; Sanofi: Research Funding; Abbvie: Honoraria, Research Funding. Garcia-Manero:Celgene: Consultancy, Honoraria, Research Funding; Helsinn Therapeutics: Consultancy, Honoraria, Research Funding; Acceleron Pharmaceuticals: Consultancy, Honoraria; Astex Pharmaceuticals: Consultancy, Honoraria, Research Funding; Genentech: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; AbbVie: Honoraria, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; H3 Biomedicine: Research Funding; Onconova: Research Funding; Novartis: Research Funding; Amphivena Therapeutics: Research Funding; Merck: Research Funding; Jazz Pharmaceuticals: Consultancy.
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Stavrat, Constantin. "10. Comparative Interpretative Analysis of David Mancini’s Work Suite for Solo Drumset and Percussion Ensemble." Review of Artistic Education 19, no. 1 (April 1, 2020): 81–84. http://dx.doi.org/10.2478/rae-2020-0010.
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AbstractThe endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the respective groups, professors Marian Vaida and Bedo Gabor, both perfected within the percussion class of the Conservatory of Music “George Enescu” in Iasi Romania, founded and led for more than half a century by the renowned professor Florian Simion. Two totally different interpretations of David Mancini’s work - Suite for solo drums and percussion ensemble, each with a few moments of success, but also with the need to perfect many elements of technique and interpretive design.
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Moelants, Dirk. "The Performance of Notes Inégales: The Influence of Tempo, Musical Structure, and Individual Performance Style on Expressive Timing." Music Perception 28, no. 5 (June 1, 2011): 449–60. http://dx.doi.org/10.1525/mp.2011.28.5.449.
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notes inégales is a common practice in the performance of French baroque music. It indicates that the first of a pair of equally notated notes is played longer, similar to the use of swing eighths in jazz. The performance of that inequality is an ongoing source of debate, but the actual performance has not been studied yet. In an experiment, eight harpsichordists and eight baroque violinists performed six melodies of French baroque gavottes in three tempo conditions. The mean ratio of inequality was 1.63, with mean ratios of individual performers varying between 1.89 and 1.33. Another significant source of variance was the metric structure, with larger inequality found at metrically important points. Tempo also had an important influence, but individual interpretation varied greatly. For example, while most performers played more evenly while tempo increased, some performers chose the opposite strategy. Pitch interval had only a minor impact on the execution of the notes inégales, but also showed differences between performers. The results show the importance of personal style in music performance: although the music played is highly standardized, we show how the timing of different performers can be influenced by different aspects of the musical structure.
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Simion, Aurelia. "Jazz Influences in Chamber Musical Works created by Composers from Iaşi at the Beginning of the 21st Century." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 242–55. http://dx.doi.org/10.2478/ajm-2019-0014.
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Abstract Chamber Music has always been a genre predefined to a certain audience. At the merge of the 20th and 21st Centuries, the interest for this genre has grown exponentially, from Romanian and Bessarabia composers alike. Because the concept of Chamber Music has evolved during the ages and has always offered the possibility for experimentation, it has managed to infiltrate into present day Ensembles, by associating timbre and constructive heterogenic instruments. The search for new ways of expressing oneself, new sounds and new stylistic methods and the desire to use new types of sound emission represent a continuous motivation for the composers, whose contribution to the Chamber Ensembles is frequently enrichened. Thus, the Jazz influence has a significant role inside the works of Sabin Pautza, Romeo Cozma (Romania) and Oleg Negruța (Republic of Moldova). The article is focused on Chamber Music compositions with Jazz influences, written by Iași authors. The purpose is to create a general presentation and also a structural-interpretive analysis of some works from my personal repertoire, which was actually one of the main criteria of selection. The objects of the research are: highlighting the particularities of the genre and style of contemporary works; presenting the interpretive aspects of the compositions and proposing some personal suggestions and tips. Although the selected works have been initially composed for different instruments and have been played to live audience, they have not presented themselves, so far, as a research subject, and thus have not been analyzed. Taking into consideration this deduction, the novelty and the personal contribution are visible in the scientific research that deals with the autochthonous compositional patrimony. The aspects presented in this article can be used for pedagogical processes and, at the same time, they can behave as a practical method in managing the chosen repertoire.
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BRENNAN, MATT. "The rough guide to critics: musicians discuss the role of the music press." Popular Music 25, no. 2 (May 2006): 221–34. http://dx.doi.org/10.1017/s0261143006000870.
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This article explores the relationship between musicians and the music press from the musicians' point of view, based on a collection of recent interviews with musicians working in the pop and jazz fields. It will expose some of the concrete effects of the music press using examples from the everyday experiences of musicians, which include the influence of the press in record retail, genre labelling, and creating industry buzz. But while musicians may have a pragmatic understanding of the role of music criticism, their perspectives are emotionally heated in direct proportion to the influence the press holds over their own livelihoods. The interests of the working music critic often conflict with the interests of the working musician, and this article will conclude with a discussion of how the practical conflict of interests between musicians and critics is reflected in ideological differences between the two groups.
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Li, Ning, Joachim F. Uhrig, Corinna Thurow, Li-Jun Huang, and Christiane Gatz. "Reconstitution of the Jasmonate Signaling Pathway in Plant Protoplasts." Cells 8, no. 12 (November 28, 2019): 1532. http://dx.doi.org/10.3390/cells8121532.
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The phytohormone jasmonic acid (JA) plays an important role in various plant developmental processes and environmental adaptations. The JA signaling pathway has been well-elucidated in the reference plant Arabidopsis thaliana. It starts with the perception of the active JA derivative, jasmonoyl-isoleucine (JA-Ile), by the F-box protein COI1 which is part of the E3-ligase SCFCOI1. Binding of JA-Ile enables the interaction between COI1 and JAZ repressor proteins. Subsequent degradation of JAZ proteins leads to the activation of transcription factors like e.g., MYC2. Here we demonstrate that the pathway can be reconstituted in transiently transformed protoplasts. Analysis of the stability of a JAZ1-fLuc fusion protein as a function of COI1 transiently expressed in coi1 protoplasts allows structure function analysis of both JAZs and COI1. Using this system, we found that conserved cysteines in COI1 influence steady state COI1 protein levels. Using a luciferase reporter gene under the control of the JAZ1 promoter enable to address those features of JAZ1 that are required for MYC2 repression. Interestingly, the conserved TIFY-motif previously described to interact with NINJA to recruit the corepressor TOPLESS is not necessary for repression. This result is in favor of the alternative repression mode that proposes a direct competition between repressive JAZs and promotive MEDIATOR25 at MYC2. Finally, using protoplasts from the aos coi1 double mutant, which is deficient in JA synthesis and perception, we provide a system that has the potential to study the activity of different COI1 variants in the presence of different ligands.