Relevant bibliographies by topics / Jazz vocal

Contents

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

Academic literature on the topic 'Jazz vocal'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Jazz vocal"

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Shevchenko, Anastasiia, and Olga Lobova. "Methodology of the formation of the teen-agers’ vocal and jazz culture at classes on pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (2019): 80–87. http://dx.doi.org/10.24195/2617-6688-2019-2-12.

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The importance of the development of individual’s general culture as a factor of his / her harmonious education stipulates the relevance of the study. The purpose of the article is to describe the methods enabling the formation of teen-agers’ vocal and jazz culture at classes on pop singing (in musical schools and during extra-class activities in institutions of general secondary education). Methods of systematization and generalization of scientific sources, theoretical modelling, pedagogical experiment and so on have been used to achieve this goal. The scientific approaches (systemic-structu
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Madura Ward-Steinman, Patrice. "Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers A Factor Analytic Study." Journal of Research in Music Education 56, no. 1 (2008): 5–17. http://dx.doi.org/10.1177/0022429408322458.

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In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative thinking criteria; free improvisations were rated only on creativity criteria. The results are as follows: (a) A significant difference was found between jazz and free improvisation achievement; (b) extensive jazz experience, especially study and listeni
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Safronova, O. L. "Basic principles of articulation development in the pop and jazz vocal." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 136–39. http://dx.doi.org/10.30725/2619-0303-2020-4-136-139.

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In this paper we will look at important issue of articulation in the pop and jazz vocal. The author touches upon the correlation and interaction of articulation skills and other components of the singing apparatus. Special attention is paid to the scat technique, which is considered through the prism of analyzing the improvisation techniques inherent in the jazz style. Author’s experience with this method provides students with effective exercises for the articulation apparatus development, and offers valuable articulation tips, both in the technical and creative areas. As a result of these ex
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Myroshnychenko, Valerii. "TEACHING JAZZ IMPROVISATION TO A FUTURE VOCAL ARTIST: ITS ESSENCE AND SPECIFICS." Academic Notes Series Pedagogical Science 1, no. 192 (2021): 189–93. http://dx.doi.org/10.36550/2415-7988-2021-1-192-189-193.

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The issues of teaching jazz improvisation to future vocal artists, especially theoretical and methodological aspects of their professional development in institutions of higher art education, have not been sufficiently studied. The matters of the essence and specifics of pop and jazz art, expressive means of improvisational mastery in vocal performance, the special nature of the relation between a composer and a performer, and the relationship with the audience become especially relevant. Vocal performance is one of the most important parts of jazz music. Both the first blues performers and ma
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Levinson, Jerrold. "Jazz Vocal Interpretation: A Philosophical Analysis." Journal of Aesthetics and Art Criticism 71, no. 1 (2013): 35–43. http://dx.doi.org/10.1111/j.1540-6245.2012.01539.x.

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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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Katz, Maria L. "Technologies for Training in Singing Breathing of Teenagers in Pop Vocal Class." Uchenye Zapiski RGSU 20, no. 1 (2021): 172–80. http://dx.doi.org/10.17922/2071-5323-2021-20-1-172-180.

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The vocalist’s breath is one of the important areas of work in the pop vocal class. This area of work is especially relevant in adolescence, since at this age stage this process will become conscious and meaningful, and not intuitive, and complex works that are included in the repertoire of adolescents will require a more attentive attitude to breathing technique. The problem of singing breath received a theoretical justification from the point of view of different methodological approaches and is considered both in the context of the features of the vocalist’s work in different vocal styles (
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Van Opstal, Katrien. "Jazz zingen, hoe doe je dat? Stijl, klank en stemgebruik in Vocal Jazz / Singing jazz: how do you go about that? Style, sound and the use of voice in Vocal Jazz." Forum+ 26, no. 2 (2019): 13–20. http://dx.doi.org/10.5117/forum2019.2.opst.

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Abstract Jazz zingen, hoe doe je dat? Letterlijk. Tot enkele jaren terug was het vormen en kiezen van mijn klank gebaseerd op luisteren, imitatie en intuïtie. Vaak had ik het gevoel dat mijn klank voor een groot stuk afhing van toeval. Maar toen leerde ik mijn stem begrijpen, voelen en kennen. Vele jazzvocalisten zijn gretig op zoek naar antwoorden rond stemgebruik binnen jazz. Het combineren van spectrografie en anatomie verschaft helderheid. Singing jazz: how do you go about that? Literally. Until a few years ago, I mainly used imitation and intuition to shape and select my own sound. I used
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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.

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The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of
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Madura, Patrice Dawn. "Relationships among Vocal Jazz Improvisation Achievement, Jazz Theory Knowledge, Imitative Ability, Musical Experience, Creativity, and Gender." Journal of Research in Music Education 44, no. 3 (1996): 252. http://dx.doi.org/10.2307/3345598.

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Dissertations / Theses on the topic "Jazz vocal"

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Cooper, Gloria Ann. "A multidimensional instructional approach for the solo jazz singer /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226924.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.<br>Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Jan Eric Douglas. Includes tables. Includes bibliographical references.
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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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Morgenroth, David Jonathan. "Collaborative Crossover: Identifying Classical Vocal Collaborative Piano Practices in Jazz Vocal Accompanying." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804985/.

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Classical vocal collaborative piano and jazz vocal accompaniment are well-established fields with long-standing performance traditions. Classical collaborative performance practices have been researched and codified, but jazz accompanying practices largely remain in the domain of aural tradition. Both classical and jazz accompaniment share associated practices, such as rubato, transposition, and attention to lyric diction and inflection, but there is little previous investigation into the idea that classical collaborative practices might apply to jazz accompanying. This research examines jazz
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Steed, Janna T. "Duke Ellington's jazz testament the sacred concerts /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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Venesile, Christopher John. "The Acquisition of Pedagogical Content Knowledge By Vocal Jazz Educators." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1278521556.

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Buchholz, Timothy C. "Analysis and Categorization of Selected Musical Elements within Forty-three Solo Jazz Vocal "Standards" with Pedagogical Application to Repertoire Selection and the Teaching of Jazz Concepts in the Jazz Voice Lesson." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/386.

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While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements
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Hellström, Viveka. "Från viskningar till rop : en studie av fem kvinnliga Jazz i Sverige-röster." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1248.

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Studiens syfte har varit att öka förståelsen för röstliga uttryck i jazzmusik, med fokus på hur samspelet mellan ord och musik verkar i skivinspelningar med utvalda sångerskor. Utifrån en hermeneutisk ansats har fem skivinspelningar med fem svenska kvinnliga jazzsångerskor, samtliga utsedda till Jazz i Sverige-artister, beskrivits och tolkats ur ett vokalpedagogiskt perspektiv. I förhållande till jazzsångtraditionen visade sig två av studiens sångerskor på olika vis utmana vokala konventioner. Studiens resultat indikerar att utbildning stärkt jazzsångerskor så att de kan ager
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Lyons, Lisanne Elizabeth. "Strategies for Developing a Jazz and Contemporary Vocal Ensemble Sound for the Traditional Chamber Choir." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/232.

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A comparison and analysis of existing texts whose focus was jazz and contemporary vocal ensemble techniques, in combination with the information gathered from interviews, as well as the author's personal teaching and professional experience as a jazz vocal artist, group singer, and jazz vocal ensemble director, served as the basis for developing strategies for a jazz and contemporary vocal ensemble sound. The major elements found to be the most critical for inclusion in sequence include: commonalities and differences, sound system and vocal production, ballad interpretation, swing interpretati
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Büchter-Römer, Ute. "New vocal jazz : Untersuchungen zur zeitgenössischen Improvisierten Musik mit der Stimme anhand ausgewählter Beispiele /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb35484382c.

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Brent, Timothy. "A Two-Semester Course Sequence for Jazz Ear-Training with Application for Vocal Improvisation." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/110.

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A series of interviews were conducted with Professor Armen Donelian (New School University), Professor Frank Carlberg (New England Conservatory of Music), Professor Gary Keller (University of Miami), Professor Thom Mason (University of Southern California), and Dr. Stephen Prosser (The Berklee College of Music). A comparison and analysis of existing texts whose focus was jazz aural-skill development, in combination with the information gathered from the interviews, as well as the author's personal teaching experience, served as the basis for the creation of a two-semester course sequence for
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Books on the topic "Jazz vocal"

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Rutherford, Paris. The vocal jazz ensemble. Hal Leonard Corp., 2008.

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Weir, Michele. Vocal improvisation. Advance Music, 2001.

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Lupi, Vladimiro. Vocal groups in modern jazz "vocalese": Storia, discografia, biografie. S.A.T.E., 1986.

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Pinkney, Andrea Davis. Ella Fitzgerald: The tale of a vocal virtuosa. Jump at the Sun/Hyperion Books for Children, 2002.

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Pinkney, Andrea Davis. Ella Fitzgerald: The tale of a vocal virtuosa. Jump at the Sun/Hyperion Books for Children, 2002.

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New vocal jazz: Untersuchungen zur Zeitgenössischen improvisierten Musik mit der Stimme anhand ausgewählter Beispiele. P. Lang, 1991.

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Büchter-Römer, Ute. New vocal jazz: Untersuchungen zur zeitgenössischen improvisierten Musik mit der Stimme anhand ausgewählter Beispiele. s.n., 1989.

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Hayashiya, Shōzō. Chishiki zero kara no jazu nyūmon =: The guide book of the jazz : famous piece of jazz for piano, sax, trumpet, guitar, and vocal. Gentōsha, 2008.

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Clayton, Jay. Sing your story: The art of jazz singing : a practical guide for learning and teaching. Advance Music, 2001.

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La culla di Dioniso: Storie musicali del passato prossimo. Marietti 1820, 2009.

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Book chapters on the topic "Jazz vocal"

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Hargreaves, Wendy. "Pathways for Teaching Vocal Jazz Improvisation." In Teaching Singing in the 21st Century. Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_18.

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Gale, Catherine. "Jazz Vocal." In Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0013.

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Vocal techniques in classical and jazz have much in common; however, even experienced vocalists need to learn the aspects of jazz singing that make it unique. This chapter aims to dispel the myth that jazz singing is completely different from classical singing while pointing out the subtle differences between them. Similarly, aspiring jazz singers need to study all the things that instrumental jazz musicians do and then incorporate words. Topics covered in this chapter include (a) teaching the differences in timbre and vibrato that create the unique jazz vocal sound; (b) centering jazz vocal intonation; (c) avoiding some of the most common pitfalls of jazz diction; and (d) a progressive discussion of types of vocal improvisation, from strategic variation in rhythms and melodies to scat singing. The chapter concludes with a list of important classic jazz standards that have lyrics, including suggestions for teaching those standards according to age and experience.
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Levinson, Jerrold. "Jazz Vocal Interpretation." In Musical Concerns. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199669660.003.0009.

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"10. Voices from the Jazz Wilderness: Locating Pacific Northwest Vocal Ensembles within Jazz Education." In Jazz/Not Jazz. University of California Press, 2019. http://dx.doi.org/10.1525/9780520951358-013.

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"VOCAL JAZZ AND OTHER SPECIALIZED ENSEMBLES." In Becoming a Choral Music Teacher. Routledge, 2010. http://dx.doi.org/10.4324/9780203868423-16.

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Burrows, George. "‘Until the Real Thing Comes Along’." In The Recordings of Andy Kirk and his Clouds of Joy. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199335589.003.0004.

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This chapter explores the recordings of Kirk’s band from ‘Until the Real Thing Comes Along’, a ‘special’ ballad that Kirk convinced Decca to record in 1936, to the disbanding of the Clouds of Joy in 1949. It primarily addresses the band’s commercial successes with vocal records, which increasingly dominated their Decca releases after 1936. The chapter shows how the popular vocals speak (or sing) loudest of the position and actions of a black band operating within a racist music industry and society. By considering the sweet-styled vocals relative to the band’s rapidly diminishing hot jazz output, this chapter challenges the enduring critical notion that Kirk’s band sold out on black-jazz authenticity with their turn to popular vocal recordings. Instead, it suggests how they found new ways to Signify on their situation within the racist culture in which they operated.
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Gioia, Ted. "Jazz Resurgent." In The History of Jazz. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190087210.003.0011.

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At the dawn of the twenty-first century, many pundits announced the “death of jazz,” yet recent years have shown the exact opposite trend. Jazz has returned to popular culture, whether one looks to rising stars such as Kamasi Washington and Shabaka Hutchings, or to popular artists (Lady Gaga, Kendrick Lamar) who draw heavily on jazz influences. At the same time, jazz started showing up in hit movies such as La La Land, Green Book, and Whiplash, where it was mythologized as a touchstone of musical excellence and artistry. All these trends served to reinvigorate a jazz tradition that many had written off as moribund, creating a powerful convergence of historic styles and new commercial styles. This chapter also explores the jazz vocal scene of recent decades, and its contribution to this broadening of the genre’s appeal. Other artists discussed include Robert Glasper, Esperanza Spalding, and Bobby McFerrin. The chapter concludes with an assessment of jazz’s relationship with the emerging technologies of the digital age.
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Hobson, Vic. "“When I Was at School, I Played All Classical Music”." In Creating the Jazz Solo. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819772.003.0005.

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This chapter explores Armstrong’s education in music at Abijah Fisk School. He learned music theory using the tonic sol-fa system that was taught in all New Orleans public schools. He sang songs from the Eleanor Smith Manual of Music (book 1). The program of music education in New Orleans was entirely vocal: there were no instrumental lessons. The music in the elementary years was sung in unison without part singing.
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Anderson, Crystal S. "“Soul Breeze”." In Soul in Seoul. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.003.0003.

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Korean R&amp;B artists cite the R&amp;B tradition by emulating R&amp;B instrumentation and gospel-inflected vocals and enhance the tradition through Korean music strategies that invoke multiple R&amp;B genres and vocal styles. While Korean R&amp;B artists are linked to pop groups through their reliance on R&amp;B vocal styles, Korean R&amp;B artists are more immersed in a variety of R&amp;B genres. Korean R&amp;B groups draw on complex musical arrangements featuring horns as part of a 1960s and 1970s soul music aesthetic. Korean R&amp;B groups also draw on the Black female vocal tradition informed by gospel. At the same time, Korean R&amp;B vocalists invoke multiple Black male vocal styles and multiple genres, including jazz and hip-hop. Through this intertextuality, Korean R&amp;B artists participate in a globalized R&amp;B tradition, expanding it beyond the Black/white binary.
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Hobson, Vic. "“I Figure Singing and Playing Is the Same”." In Creating the Jazz Solo. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819772.003.0016.

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This chapter returns to the issue of the cycle of fifths progression, “My Brazilian Beauty” and tunes such as “Muskrat Ramble,” “Big Butter and Egg Man,” “Potato Head Blues,” and “Basin Street Blues” and the relationship between Armstrong’s vocal practices and his cornet playing showing the direct translation of note choices from voice to cornet.The question that this book raises is what are the implications of this research for jazz performance pedagogy? How can we develop a research informed way to learn to play jazz?
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