Relevant bibliographies by topics / Jazz style

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Jazz style'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Jazz style"

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Tolson, Jerry. "Jazz Style and Articulation." Music Educators Journal 99, no. 1 (2012): 80–86. http://dx.doi.org/10.1177/0027432112449020.

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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 (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
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Kennedy, Raymond F. "Jazz Style and Improvisation Codes." Yearbook for Traditional Music 19 (1987): 37. http://dx.doi.org/10.2307/767876.

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Rice, Alan J. "Jazzing It Up A Storm: The Execution and Meaning of Toni Morrison's Jazzy Prose Style." Journal of American Studies 28, no. 3 (1994): 423–32. http://dx.doi.org/10.1017/s0021875800027663.

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The publication of Toni Morrison's new novel Jazz with its insistent jazzy themes and rhythms will have concentrated the minds of critics on the relationship of her work to America's most important indigenous artistic form, jazz music. However, in their headlong rush to foreground the impact of jazz on Toni Morrison's latest novel critics should be wary of isolating this novel as her only jazz-influenced work. All of her novels have been informed by the rhythms and cadences of a black musical tradition and in this article I want to stress the centrality of jazz music stylistically to her whole
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (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,
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García, Antonio J. "Fine-Tuning Your Ensemble's Jazz Style." Music Educators Journal 77, no. 6 (1991): 30–35. http://dx.doi.org/10.2307/3398210.

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Arestov, Sergey S. "Jazz composition in the modern educational process." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 140–44. http://dx.doi.org/10.30725/2619-0303-2021-1-140-144.

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The teaching system is periodically updated and improved. The article outlines the perspective of using jazz composition in the system of musical education. Its expediency is emphasized, and its conditionality is shown by several interacting factors that contribute to the formation of professional skills of a musician-performer and teacher. In addition, the characteristic features that distinguish it from other musical disciplines are identified. At the same time, jazz composition as a technique for creating works is the basis for the formation and development of a musical style that involves
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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 (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 anticipat
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Lee, Hyun-Jung. "A Study on Jazz Vocal Variation Techniques-Focusing on Jazz Ballad Style Techniques-." Asia-pacific Journal of Convergent Research Interchange 6, no. 9 (2020): 141–50. http://dx.doi.org/10.47116/apjcri.2020.09.13.

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MUNTON, ALAN. "Misreading Morrison, Mishearing Jazz: A Response to Toni Morrison's Jazz Critics." Journal of American Studies 31, no. 2 (1997): 235–51. http://dx.doi.org/10.1017/s0021875897005653.

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Toni Morrison's fiction, we have been repeatedly told, embodies features taken from jazz. Her books have a “jazzy prose style,” express a “jazz aesthetic,” or are “literary jazz.” Critics propose that jazz riffs can be found in her writing, and that she improvises in prose in a manner comparable to an improvising jazz musician. None of this seems to me to be true. To establish a relationship between music and prose fiction would be difficult under any circumstances. It is all the more difficult when the critics concerned show themselves to be unaware of the basic formal structures of jazz. The
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Dissertations / Theses on the topic "Jazz style"

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Keene, Joel Andrew. "The Influence of Jazz Harmony and Jazz Style on Selected Bass Trombone Solo Literature." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/351.

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The development of solo literature for the bass trombone came relatively late in the history of instruments. Though the development of solo literature for this instrument and the birth and development of jazz occurring at the same time in history may be coincidental, the influence of one on the other is undeniable. Because of the large percentage of solo bass trombone literature that is influenced by jazz due to this coincidence, it is necessary that even a classically trained bass trombonist include jazz as a part of the study curriculum. In order to exemplify the influences of jazz harmon
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Saint-Paul, Jean-Michel. "L'électro-jazz européen : (influences, diversités, et cristallisation d'un style)." Paris 8, 2010. http://octaviana.fr/document/159662982#?c=0&m=0&s=0&cv=0.

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Ce travail tente de caractériser l'électro-jazz en tant que style musical, ayant émergé dans les années 90. On y traite des influences musicales, aussi bien issues des recherches de Miles Davis, du funk de Herbie Hancock, du style de Pat Metheny ou encore de celui de Terje Rypdal. Lié à l'orientation artistique et commerciale du label ECM. , l'électro jazz se caractérise sur le plan esthétique par des atmosphères aériennes, souvent suggérées par la création graphique des pochettes de disques. Sur le terrain européen et scandinave, ECM aura contribué à un répertoire de l'électro-jazz particuliè
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Thomas, Benjamin. "The devlopment of Cal Tjader's Latin jazz vibraphone style /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11304.

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Vanderheyden, Joel Patrick. "Approaching the classical style: a resource for jazz saxophonists." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/613.

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Rice, Alan J. "The structures and meanings of Toni Morrison's jazz prose style." Thesis, Keele University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362163.

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Chi, Wu-Chen Anne. "Not just the "king of swing" : Benny Goodman's classical style." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11376.

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Karns, Keith. "Woody Shaw: Development of Style in Three Versions of "The Moontrane”." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849774/.

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Woody Shaw is one of the most influential jazz trumpet players of the past fifty years. Despite his importance, very few models exist that contextualize Shaw's improvisatory approach inside modern jazz pedagogy. Writers such as Rex Richardson, Eric O'Donnell, and Gavin Franklin have identified key elements of Shaw's style, and have begun a critical examination of Shaw's music. While extensive, these approaches do not take into consideration the impact free jazz had on Shaw's technique, nor do they provide a model for how to duplicate Shaw's style. This project examines four elements of Shaw's
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Hardester, Bryan Matthew. "An analysis and compositional application of trombonist John Allred's improvisational style." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4852.

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Bourgois, Louis George. "Jazz trombonist J.J. Johnson : a comprehensive discography and study of the early evolution of his style." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1165336001.

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Books on the topic "Jazz style"

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Jazz: Legends of style. Eagle, 2000.

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Shadwick, Keith. Jazz: Legends of style. Apple, 1998.

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Shadwick, Keith. Jazz: Legends of style. Apple, 1998.

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Hedman, Paul. Tommy Emmanuel: Solo guitar style. Universal Music Pub. Group, 2000.

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Person, Kriegel Lorraine, and Roach Francis 1956-, eds. Luigi's jazz warm up: And introduction to jazz style & technique. Princeton Book Co., 1997.

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Jazz styles: History and analysis. Pearson, 2012.

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Jazz styles: History & analysis. 2nd ed. Prentice-Hall, 1985.

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Gridley, Mark C. Jazz styles: History & analysis. 4th ed. Prentice Hall, 1991.

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Gridley, Mark C. Jazz styles: History & analysis. 6th ed. Prentice Hall, 1997.

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Jazz styles: History & analysis. 5th ed. Prentice Hall, 1994.

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Book chapters on the topic "Jazz style"

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Terefenko, Dariusz. "The Tristano Style of Improvisation." In Jazz Theory. Routledge, 2017. http://dx.doi.org/10.4324/9781315305394-19.

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Pearson, Nathan W. "Kansas City Jazz Style." In Goin’ to Kansas City. Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-09677-0_10.

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Terefenko, Dariusz. "The Tristano Style of Improvisation." In Jazz Theory Workbook. Routledge, 2019. http://dx.doi.org/10.4324/9780429445477-19.

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Ryan, Jennifer D. "Nationhood Re-Formed: Revolutionary Style and Practice in Sonia Sanchez’s Jazz Poetics." In Post-Jazz Poetics. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230109094_3.

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Pearson, Nathan W. "Sources of the Early Kansas City Jazz Style: Ragtime and New Orleans Jazz." In Goin’ to Kansas City. Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-09677-0_2.

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Ando, Daichi. "Effects of the Difference in Accented Beat Between Jazz and Classical Music Styles Through Sight-Reading of a Jazz Ad-Lib Solo." In New Frontiers in Artificial Intelligence. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-31605-1_33.

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"The ‘Jazz Age’." In Musical Style and Social Meaning. Routledge, 2017. http://dx.doi.org/10.4324/9781315090696-4.

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Boross, Bob. "The “Free Style” Jazz Dance of Matt Mattox." In Jazz Dance. University Press of Florida, 2014. http://dx.doi.org/10.5744/florida/9780813049298.003.0017.

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Pinson, K. Heather. "A “Style Portrait” of the Avant-Garde." In The Jazz Image. University Press of Mississippi, 2010. http://dx.doi.org/10.14325/mississippi/9781604734942.003.0005.

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Baber, Katherine. "Trading Fours." In Leonard Bernstein and the Language of Jazz. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042379.003.0003.

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Chapter 2 examines the influence of Bernstein’s two most important models for synthesizing jazz styles as part of a personalized American style: Aaron Copland and George Gershwin. Taking Prelude, Fugue and Riffs as a case study, this chapter shows how patterns of usage in Copland’s and Gershwin’s music, particularly the expressive dichotomy between jazz and the closely related blues style, clearly influenced Bernstein’s version of jazz. Given Bernstein’s deep personal identification with both composers, it also becomes clear how some jazz styles, particularly the blues, could express intimate or private sentiments and mediate the formation of a musical subjectivity.
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Conference papers on the topic "Jazz style"

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"Musical style JAZZ, the new way of Leadership (Classical, Jazz, Evergreen Live interpretation)." In Dignified Researchers Publication. Dignified Researchers Publication, 2016. http://dx.doi.org/10.15242/dirpub.dirh1016208.

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Tzimeas, Dimitrios, and Eleni Mangina. "Jazz Sebastian Bach: A GA System for Music Style Modification." In 2006 International Conference on Systems and Networks Communications (ICSNC'06). IEEE, 2006. http://dx.doi.org/10.1109/icsnc.2006.49.

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Borghuis, Valentijn, Luca Angioloni, Lorenzo Brusci, and Paolo Frasconi. "Pattern-Based Music Generation with Wasserstein Autoencoders and PRC Descriptions." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/751.

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We demonstrate a pattern-based MIDI music generation system with a generation strategy based on Wasserstein autoencoders and a novel variant of pianoroll descriptions of patterns which employs separate channels for note velocities and note durations and can be fed into classic DCGAN-style convolutional architectures. We trained the system on two new datasets (in the acid-jazz and high-pop genres) composed by musicians in our team with music generation in mind. Our demonstration shows that moving smoothly in the latent space allows us to generate meaningful sequences of four-bars patterns.
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