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Dissertations / Theses on the topic 'Jazz Jazz School music'

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Published: 4 June 2021

Last updated: 12 February 2022

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1

Edmund, David Charles. "The effect of articulation study on stylistic expression in high school musicians' jazz performance." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024367.

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2

Jones, Lloyd Edward Walls Kimberly C. "Instrumental jazz ensemble programs in Alabama high schools." Auburn, Ala., 2009. http://hdl.handle.net/10415/2023.

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3

Fay, Kaitlyn A. "In search of effective jazz education| An analysis and comparison of pedagogical methods employed by directors of successful high school jazz ensembles." Thesis, The William Paterson University of New Jersey, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1538595.

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<p> Jazz education within academia is still young, yet many educators have been recognized for successful leadership of high school jazz ensembles. Directors of finalist bands from the 2012 Essentially Ellington competition, a national opportunity hosted by Jazz at Lincoln Center, completed a questionnaire and interview regarding their pedagogical techniques and supplemental methods. All participants responded that listening to recordings and the fostering of peer mentoring are crucial elements. Other important techniques include singing, sight reading, rhythmic exercises, and the use of blu

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Treinen, Craig Michael. "Kansas high school band directors and college faculties' attitudes towards teacher preparation in jazz education." Diss., Kansas State University, 2011. http://hdl.handle.net/2097/8565.

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Doctor of Philosophy<br>Department of Music<br>Frederick Burrack<br>The purpose of this study examined high school band directors and college music educators’ attitudes in regard to implementing curricula requirements for music teacher training programs in jazz education, as well as personal and professional characteristics to current and past jazz cultures in music education. In addition, high school band directors and college music educators were also asked to evaluate specific teaching skills and competencies necessary for preparing music education students to teach jazz as an essentia

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Dyas, J. B. "A description, comparison, and interpretation of two exemplary performing arts high school jazz programs /." Electronic version:, 2006. http://proquest.umi.com/pqdweb?did=1268603451&sid=2&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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6

Steinberg, Ella Nora Parks. "“Take a solo”: An analysis of gender participation and interaction at school jazz festivals." Scholarly Commons, 2001. https://scholarlycommons.pacific.edu/uop_etds/2469.

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This study documented participation at school jazz festivals according to gender and instrument and explored interaction patterns between clinicians and students to determine if participation patterns in jazz education resemble those in math and science, where females have been found to be underrepresented in high-level courses. This study analyzed data collected at two middle and high school jazz festivals with male and female students participating in stage performances and in post-performance clinics. Out of a total student population of 556 performers, males were found to represent a dispr

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Roark, Jessica A. "History and technology : the creation of the Ball State Jazz Media Archive." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397649.

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This creative project details the process involved in the creation of the Ball State Jazz Media Archive. This archive will contain oral histories collected from individuals involved with the Ball State jazz program, photographs that are otherwise unavailable for study and other historical materials relevant to jazz at Ball State University. The historical significance and academic uses of such an archive have been described as well as a thorough overview of other major jazz media archives in the United States and other academic projects involving oral history. This project also includes the pl

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Swehla, Kelli L. "An examination of a competition set for your active high school jazz band: “Hay Burner” by Sammy Nestico, “A Child is Born” by Thad Jones, “The Next Chapter” by Patty Darling, “Uchibeng Wow-Wow” by Michael Philip Mossman." Kansas State University, 2015. http://hdl.handle.net/2097/20360.

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Master of Music<br>School of Music, Theatre, and Dance<br>Frank Tracz<br>The following report is an in depth research and analysis project based on the graduation requirement for a Masters in Music degree from Kansas State University. The product of this project was a performance at the Iowa Jazz Championships by the Xavier High School Jazz Band One (Cedar Rapids, IA), Kelli L. Swehla, director. This performance was held on March 31, 2015, at the Community Choice Credit Union Convention Center (part of the Iowa Events Center), in Des Moines, IA. The repertoire included Hay Burner by Sammy N

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Thies, Tamara Tanya. "Affective learning experiences influence positive interactions with anxiety: comprehensive musicianship with seventh grade jazz students." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1406.

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The purpose of this qualitative case study was to provide insight into affective learning during seventh-grade students' early experiences of improvising and spontaneously creating melodies in jazz style. As data collection progressed, the instructor's focus of engaging students to learn improvisation through anxiety-based affective strategies became the transforming factor of this qualitative study. Subsequently, the overarching research question evolved into: What is the nature of affective teaching and learning during students' early experiences of improvising and spontaneously creating mel

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10

Lile, Trudy. "Creating new standards : jazz arrangements of pop songs : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music in Jazz Performance, New Zealand School of Music, Auckland, New Zealand." New Zealand School of Music, 2009. http://hdl.handle.net/10179/1203.

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This study involves the research, analysis, and performance of existing arrangements of songs that have been played and recorded by jazz musicians, and are identifiable as pop songs of the last thirty years. This project will discuss the development of these songs as new repertoire in the jazz idiom. In particular it will examine transcriptions of arrangements by Herbie Hancock, Dianne Reeves, Brad Meldau, Charlie Hunter, Christian McBride, and Bob Belden. The analysis of these transcriptions will consider the techniques these musicians used in their arrangements including reharmonisation, mel

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Leavell, Brian K. ""Making the Change": Middle School Band Students' Perspectives on the Learning of Musical-Technical Skills in Jazz Performance." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277968/.

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Students' perspectives in jazz education have gone largely ignored. A modified analytic inductive design allowed me to look broadly at the students' jazz band experience while specifically investigating their views about playing individualized parts, improvising, and interpreting and articulating swing rhythms. A focus group procedure was altered (Krueger, 1995) and incorporated into my teaching of 19 students. Two 30 minute sessions per week over a 12 week period were video- and audiotaped. Audiotaped exit interviews provided data in a non-social environment. All data were transcribed and cod

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Brumbach, Glen Alan. "The Effects of Practice-Based and Theoretical-Based Pedagogical Approaches on Jazz Improvisation and Performance Achievement by High School Musicians." Thesis, University of Maryland, College Park, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10615347.

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<p> The main purpose of this study was to investigate the impact of two methods of jazz instruction-theoretical-based and practice-based-on the improvisational development and performance of high school jazz musicians. Secondary purposes were to investigate (a) what instructional activities students in a jazz ensemble setting find useful in developing their performance and creative jazz improvisation skills; (b) how instruction in a jazz ensemble setting affects students' perceptions and attitudes towards cultural diversity in music; and (c) jazz band directors' perceptions of the effectivenes

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Mack, Kyle D. "The status of jazz programs in selected secondary schools of Indiana, 1991-1992." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/861380.

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The purpose of this study was to determine the status of jazz programs in secondary schools of Indiana for the 1991-1992 school year. Data were gathered by means of questionnaires sent to the directors of twenty-six successful Indiana high school jazz ensembles. Information sought was divided into five major sections: (1) General Information, (2) Teacher Profile, (3) Facilities and Equipment, (4) The Jazz Program, and (5) Budget and Finance. Responses were obtained from 76.9 percent of the total sample, and the data were tabulated and presented with comparison of the findings.The majority of t

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Montgomery, Clyde. "A comparative analysis of teacher behavior of jazz and concert ensemble directors in selected Oklahoma high schools /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1986.

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15

Santos, Joana Rita da Cruz Ribeiro. "Escola INJAZZ. Arquitectura de integração numa perspectiva sustentável." Master's thesis, Faculdade de Arquitectura de Lisboa, 2011. http://hdl.handle.net/10400.5/4038.

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Tese de Mestrado em Arquitectura, com a especialização em Arquitectura de Interiores.<br>A arquitetura contemporânea passa pelo aproveitamento de recursos e pela criação de espaços dinamizadores das cidades, que contribuam para a regeneração urbana e coesão social. O presente trabalho pretende analisar a arquitetura de integração numa perspetiva sustentável, através da intervenção num objeto arquitetónico, no sentido de permitir a sua conversão para uma escola de jazz e clube noturno. Pretende-se abordar e compreender as necessidades funcionais de um espaço deste tipo, propondo uma metod

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Hamilton, Richard John. "The History of the Vocal Jazz Ensemble Singing Movement in the Public Schools of the Boise Valley from Its Inception through the Academic Year 1989-1990." Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10602363.

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<p> The vocal jazz ensemble singing movement that began at Mt. Hood Community College (Gresham, Oregon) in 1967 reached the public schools of the Boise Valley, in Southwestern Idaho sometime in the early 1970’s. The first generation of vocal jazz educators in the region were Jerry Vevig , Vern Swain, Moyle Brown and Lonnie Cline. In an effort to learn the new style, these four directors participated in the burgeoning vocal jazz scene occurring in the Western region of the United States. By the mid 1970’s, vocal jazz ensemble education had become so prevalent in the Boise Valley reg

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Smith, Andy. "Pat Metheny: Composing to Exploit the Sound of the Guitar : a thesis submitted to the New Zealand School of Music [in partial fulfilment of the requirements for the degree of Master of Music]." New Zealand School of Music, 2007. http://hdl.handle.net/10179/1113.

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The study's objective is to relate the development of Pat Metheny's stylistic characteristics from his interpretation of jazz standards to their incorporation into his own compositions. Stylistic elements are established and a sample of his compositions are analysed to compare his solo style in standards with his compositional style. Metheny is a recognised innovator in technique and uses a wide range of instruments in the guitar family, both traditional and radically new. The use of such instruments frees Metheny from some restrictions and the possibility that this freedom is a major influenc

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Farley, Jeff. "Making America's music : jazz history and the Jazz Preservation Act." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/519/.

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The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity

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Dotzek, Karl. "Så ni spelar jazz : Lärares perspektiv om jazz i gitarrundervisningen." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76418.

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Syftet med den här studien var att få en överblick om hur gitarrlärare undervisar jazz på estetiska programmet med inriktning musik. Detta är en kvalitativ studie där tre gitarrlärare från södra Sverige intervjuades för att få fram det empiriska materialet. Resultatet visar på att lärarna har olika tankar kring genren jazz i ett undervisningsperspektiv och att lärarna är rätt likasinnade när det kommer till hur jazz i gitarrundervisningen skall bedrivas. Resultatet visar även att planeringsstadiet för lärarna har mycket med individen att göra, alltså eleven eller eleverna som de undervisar sty

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Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophon

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21

Williams, Katherine A. "Valuing jazz : cross-cultural comparisons of the classical influence in jazz." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12622/.

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‘Valuing Jazz: Cross-cultural Comparisons of the Classical Influence in Jazz’ re-examines the interaction of Western classical music and jazz, focussing particularly on developments in North America and Britain in the twentieth century. This dissertation acknowledges and builds on the existing connections that have been drawn between classical music and jazz—both those that underscore the musical differences between the two idioms in order to discredit the latter, and those that acknowledge similarities in order to claim cultural legitimacy for jazz. These existing studies almost universally u

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Yau, Tang-yiu Tony. "Jazz complex in Shek O." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947886.

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Gendrich, Julia M. "Teaching and learning jazz trombone." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054757697.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains x, 182 p. Includes bibliographical references (p. 174-182). Available online via OhioLINK's ETD Center

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Hsieh, Terence. "Jazz Meets East: Cultural Dimensions of Asynchronous Jazz Music Development in Modern China." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338392142.

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Gee, Travis (Travis Lloyd) Carleton University Dissertation Psychology. "Mental factors in jazz performance." Ottawa, 1992.

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Chen, Daniel. "Computer improvisation of jazz solos /." Online version of thesis, 1992. http://hdl.handle.net/1850/11088.

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Beausoleil-Morrison, Rachel Chantal. "Montreal jazz vocalists, the relationship between their status and improvisation, and the canons of jazz (Quebec)." Thesis, University of Ottawa (Canada), 1999. http://hdl.handle.net/10393/8536.

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This thesis deals with jazz singing as it is experienced in Montreal. It examines the interplay between social and musical aspects of vocal jazz. The first chapter deals with the canons of jazz, that is, the established standards within or against which jazz singers construct their vision of vocal jazz. The second chapter examines the status of singers within the larger jazz community, and that of the voice within the jazz ensemble. The third chapter deals with the musical practices of vocalists and techniques in vocal improvisation. This thesis shows how the status of jazz vocalists is inextr

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Re, Adrien Marcus. "The role of transcription in jazz improvisation : examining the aural-imitative approach in jazz pedagogy." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285406.

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Jazz musicians traditionally learned jazz improvisation by transcribing other musicians they admired in order to absorb, assimilate and retain important stylistic elements of jazz. Indeed, many famous jazz musicians have testified to the importance of transcribing as part of their jazz education. By the latel960's, jazz increasingly gained acceptance as a legitimate American genre within academia. As jazz studies programs became more formalized in colleges and universities, a plethora of methods and materials have followed suit. Lately, critics of these programs claim that many of the procedur

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Siukola, Jennifer. "Seven original compositions for jazz combo." Thesis, Ball State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3745688.

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<p> “Seven Original Compositions for Jazz Combo” is a project inspired by the compositional and improvisational work of seven famous jazz trumpeters. These diverse players include Tom Harrell, Roy Hargrove, Kenny Dorham, Chet Baker, Lee Morgan, Miles Davis, and Scott Wendholt. Each musician influenced my compositions in various ways; I imitated the harmonic language of Tom Harrell and Kenny Dorham in my compositions “Lighthouse Reverie” and “Bog Walking” respectively, and the lyricism of Chet Baker in “I Kissed You Goodbye.” Roy Hargrove’s

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McClimon, Michael. "A transformational approach to jazz harmony." Thesis, Indiana University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3746901.

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<p> Harmony is one of the most fundamental elements of jazz, and one that is often taken for granted in the scholarly literature. Because jazz is an improvised music, its harmony is more fluid and potentially more complex than that of other, notated traditions. Harmony in common-practice jazz (c. 1940–1965) is typically represented by chord symbols, which can be actualized by performers in any number of ways, and which might change over the course of a single performance. </p><p> This dissertation presents a transformational model of jazz harmony that helps to explain this inherent com

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Pinto, Waldir de Amorim. "Nico Assumpção and jazz bass improvisation." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1049.

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The purpose of this thesis was to investigate Nico Assumpção. He has not received the interest and recognition of the American jazz audience, despite having recorded and performed with some of the greatest jazz musicians in the world. Four works were transcribed and analyzed in detail with respect to the following issues and elements: rhythmic conception, bass techniques and melodic and harmonic characteristics. Observations were made and trends examined in his music as well as his improvisational style, which illustrates his stylistic significance. Results show that Nico Assumpção is indeed r

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Goldman, Jonathan. "The shape of jazz education to come: How jazz musicians develop a unique voice within academia." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92328.

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This study examined the ways in which exceptional jazz musicians develop a unique voice within academia. The perceptions of unique musicians with respect to the current call for change in jazz education was also investigated. Ten subjects, considered 'exceptional jazz musicians' with a 'unique voice', participated in a semi-structured interview to gain insight into these issues. Results revealed a consistency in responses relating to the current status of jazz education and call for change, learning experiences in jazz, and the development of a unique voice. Results indicated that (a) the jazz

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Bermudez, Alvaro. "Colombian Jazz dance suite : a synthesis of the music of the colombian andes and modern jazz." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/1767.

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This thesis is an attempt to unite two distinct and dissimilar musical genres, the music of the Colombian Andes and modem jazz. The compositions to be analyzed in this thesis are meant to function as parts of a whole. Thus, they will be linked by thematic and rhythmic material. In their entirety the pieces will form a suite of dances not unlike those of Baroque composers, with titles that denote the name of the particular air being employed by the composer, who is also the author of this thesis. These individual dances are orchestrated for a jazz ensemble consisting of piano, string bass, drum

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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

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Latour, Philippe. "Charles Mingus, Jazz and Modernism." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117176.

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The purpose of this thesis is to explore the diverse discourses of modernism in jazz at mid-century in relation to the work of Charles Mingus. What was meant by modern jazz in Mingus' time? How was his music, as well as his life as a jazz musician and composer, affected by discourses of modernism? Modernism was used in the jazz field as a discourse to elevate jazz from its role as entertainment music into a legitimate art form. In its transfer from European art music to African-American jazz, the concept of aesthetic modernism retained most of its signification: it was associated with the noti

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Ormsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.

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This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through t

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Robinson, Jason L. "Improvising California : community and creative music in Los Angeles and San Francisco /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170218.

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Yau, Tang-yiu Tony, and 邱騰耀. "Jazz complex in Shek O." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984940.

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Franks, Daniel. "Jazz in Hollywood (1950s – 1970s)." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/381456/.

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Serious jazz can be found in places where it is least expected, in mainstream Hollywood films. This thesis aims to demonstrate how film composers (such as Henry Mancini, Quincy Jones and Lalo Schifrin) challenged established conventions in the music and film industries between the late 1950s and the late 1970s. During this period, film composers were producing jazz for a global audience; their musical contribution is integral to our current understanding of jazz history. It is by viewing the history of film music through the various ways in which it is received (in music journals, performances

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Li, Mo. "A History of Jazz in China: from Yellow Music to a Jazz Revival in Beijing." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1532518802970811.

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Coyle, Alexandra. "Jazz in Japan: Changing Culture Through Music." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104170.

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Thesis advisor: Franziska Seraphim<br>This thesis primarily focuses on jazz in Japan and the role it played in the American occupation after World war II. The trajectory jazz took in Japan changed a multitude of times: in the 1920s it was immensely popular with the rise of consumerism and internationalism, and was emblematic of the carefree attitude of that time period. After Pearl Harbor occurred, enemy music, clearly being American jazz, was formally forbidden in Japan but periodically still played for the entertainment of the troops. Thus jazz went from being incredibly popular to practical

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Perse, Matthew B. "Jazz as Discourse: Music, Identity, and Space." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303510378.

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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this

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Larsen, Janeen Jess. "Teaching basic jazz piano skills to classically-trained adult pianists a mastery learning approach /." Gainesville, FL, 1986. http://www.archive.org/details/teachingbasicjaz00lars.

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Ahn, Byungkyu. "Journey for Jazz." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4245/.

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This written thesis accompanies a 32-minute documentary video, Journey for Jazz, which explores four Korean students who major in jazz at the University of North Texas in Denton. Detailed accounts of the pre-production, production, and post-production of the video guide the reader to understand the challenging and rewarding process of making this documentary. Theoretical issues are also discussed, including Bill Nichols's typology of documentary modes as a useful tool for analysis of hybrid documentaries and conventions of the observational and interactive mode in Journey for Jazz, which is co

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Ottervik, Jennifer. "The Use of Jazz in Opera." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277623/.

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Methods of incorporating jazz in opera range from using simple blue notes and fox-trot rhythms, to utilizing jazz instruments, to employing elaborate passages of improvisation. Current definitions of "jazz opera" do not consider variations in the genre, which, because of their evolving nature and the varied background of their composers, are diverse. This study attempts to collectively discuss these third-stream works. Jazz rhythms and harmonies first appeared in the 1920s in the works of Gershwin, Harling, Krenek, and Freeman. In 1966, Gunther Schuller was the first composer to use improvisat

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Beddok, Virgile C. "The Gems of Jazz." ScholarWorks@UNO, 2013. https://scholarworks.uno.edu/td/1714.

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The Gems of Jazz is a prospective TV series that features local New Orleans Jazz musicians. The purpose of the show, created and hosted by Virgile Beddok, is to look into the lives of the people who make the New Orleans Jazz scene all that it is, and has been. This paper delves into each stage of the creative and production processes that enabled the completion of this pilot episode which features master drummer Herlin Riley as a guest.

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Gunduz, Esin. ""BOZ" for jazz orchestra and vocal /." [Huntington, WV : Marshall University Libraries], 2009. http://www.marshall.edu/etd/descript.asp?ref=963.

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Dreps, Krystoffer. "Béla Bartók im Jazz." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-25543.

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Flora, Sim A. "An analytical anthology of improvised solos designed to supplement the formal teaching of jazz improvisation and jazz theory at the university level /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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