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Синь, Ш. "Features of learning pop and jazz vocals." Review of pedagogical research 6, no. 2 (March 27, 2024): 201–8. http://dx.doi.org/10.58224/2687-0428-2024-6-2-201-208.
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в данной статье исследуются особенности обучения эстрадно-джазовому вокалу, основной акцент делается на важности ощущения внутреннего голоса и уникального тембра голоса в любом возрасте. Целью статьи является анализ особенностей обучения эстрадно-джазовому вокалу; результаты исследования могут быть использованы в деятельности практикующих педагогов при обучении эстрадно-джазовому вокалу. Рассматривается необходимость обращения к педагогу и принятия решения о профессиональном обучении, что определяет будущую творческую судьбу. Автором подчеркивается индивидуальность артиста и соответствие подходов к обучению особенностям каждого ученика. В статье обсуждается значение правильной организации дыхания, работу с резонансом, атака звука и возрастные особенности в развитии голоса. Отмечается влияние возраста на развитие звучания голоса, вред от некорректной атаки звука и важность работы с резонаторами вокалиста. Рекомендации по работе с различными методиками и техниками пения («криковая» манера пения и использование твёрдой атаки) освещаются в контексте сохранения и развития голоса студентов. Исследование также подчеркивает необходимость знания педагогом не только методик обучения вокалу, но и психологических, фониатрических и физиологических аспектов для достижения оптимальных результатов в обучении эстрадному вокалу. this article examines the features of pop-jazz vocal training, the main emphasis is on the importance of feeling the inner voice and the unique timbre of the voice at any age. The purpose of the article is to analyze the features of teaching pop and jazz vocals; the results of the study can be used in the activities of practicing teachers in teaching pop and jazz vocals. The necessity of contacting a teacher and making a decision on professional training is considered, which determines the future creative destiny. The author emphasizes the individuality of the artist and the correspondence of approaches to learning to the characteristics of each student. The article discusses the importance of proper organization of breathing, working with resonance, sound attack and age-related features in voice development. The influence of age on the development of voice sound, the harm from incorrect sound attack and the importance of working with vocalist resonators are noted. Recommendations for working with various singing techniques and techniques (the «shouting» manner of singing and the use of solid attack) are highlighted in the context of preserving and developing students' voices. The study also highlights the need for a teacher to know not only vocal teaching techniques, but also psychological, phoniatric and physiological aspects in order to achieve optimal results in pop vocal training.
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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 exercises, students will fully develop their creative potential and master the technique of pop and jazz vocals.
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Лю, Ч. "Improvisation and imitation in jazz vocal training." Management of Education 14, no. 2-1(76) (February 15, 2024): 258–65. http://dx.doi.org/10.25726/n5807-2955-8461-u.
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В рамках данной статьи автор поднимает проблему импровизации и подражания в обучении джазовому вокалу. Целью статьи является понимание сущности импровизации и подражания в образовательном процессе по направлению «эстрадно-джазовый вокал». Для достижения указанной цели автор последовательно решает несколько задач. Прежде всего, он рассматривает процесс имитации на уроках вокала и выделяет три уровня этого процесса. Первый уровень – воспроизведение идентичного или максимально близкого исполнения. Второй уровень – имитация «в стиле», основанная на примерах и образцах. Третий уровень – имитация как вдохновение для чего-то другого. В статье описывается устное обучение, которое предпочтительнее письменного, а также различные формы устной имитации в музыкальном и словесном контекстах. Процесс имитации на уроках вокала включает и физические аспекты, такие как жесты и позы. Второй задачей является анализ разнообразия форм устной имитации на уроках вокала и выступлениях в джазе: устная речь не охватывает полностью явления подражания, и выделяет различные типы подражания, такие как дидактическое, взаимное агонистическое, референциальное и другие. Подчеркивается важность телесного вовлечения музыканта при подражании, определяющего тип имитации. Автор также обсуждает проблемы подражания в контексте требований к оригинальности и представляет идею вариации как способа разнообразить исполнение известных тем. Особое внимание уделяется стремлению к разговорному выражению и натуральной выразительности при исполнении. Учитывая сложность процесса обучения и пения, автор призывает искать баланс между подражанием и творчеством в музыкальном исполнении. In this article, the author raises the problem of improvisation and imitation in teaching jazz vocals. The purpose of the article is to understand the essence of improvisation and imitation in the educational process in the direction of «pop and jazz vocals». To achieve this goal, the author consistently solves several tasks. First of all, he examines the process of imitation in vocal lessons and identifies three levels of this process. The first level is the reproduction of an identical or as close as possible performance. The second level is an imitation «in style» based on examples and samples. The third level is imitation as inspiration for something else. The article describes oral learning, which is preferable to written, as well as various forms of oral imitation in musical and verbal contexts. The process of imitation in vocal lessons also includes physical aspects such as gestures and poses. The second task is to analyze the variety of forms of oral imitation in vocal lessons and performances in jazz: oral speech does not fully cover the phenomena of imitation, and distinguishes various types of imitation, such as didactic, mutual agonistic, referential and others. The importance of the musician's bodily involvement in imitation is emphasized, which determines the type of imitation. The author also discusses the problems of imitation in the context of the requirements for originality and presents the idea of variation as a way to diversify the performance of well-known themes. Special attention is paid to the desire for colloquial expression and natural expressiveness in performance. Given the complexity of the learning and singing process, the author urges to seek a balance between imitation and creativity in musical performance.
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Kasumova, V. V. "Distance learning in pop-jazz vocals in modern conditions." Vestnik of Saint Petersburg State University of Culture, no. 2 (43) (2020): 140–43. http://dx.doi.org/10.30725/2619-0303-2020-2-140-143.
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POPOVA, Alina. "INTEGRATION OF JAZZ VOCALS PERFORMED BY POP ARTISTS OF KYIV." Humanities science current issues 2, no. 63 (2023): 52–58. http://dx.doi.org/10.24919/2308-4863/63-2-9.
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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 (March 30, 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 (academic, folk, pop-jazz) and in the context of solo and choral vocal performance. However, breathing technologies in teenagers involved in pop vocals remain poorly illuminated. The object of the study is the singing breath of teenagers of the pop vocal class in the institution of additional education.
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Setiarini, Agnes Tika. "Scat Singing Learning Method in Jazz Vocals for Vocal Students of Music Presentation Institut Seni Indonesia Yogyakarta." Grenek Music Journal 12, no. 1 (June 10, 2023): 110. http://dx.doi.org/10.24114/grenek.v12i1.39747.
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Scat singing is the designation of vocal improvisation techniques in jazz music. This form of vocal improvisation was first popularized by Louis Armstrong in 1962. Scat singing is often learned by imitating improvised musical instruments into vocals, such as saxophones, trumpets, guitars, or pianos. Popjazz vocal students of the ISI Yogyakarta Music Presentation study program began to be introduced and learned scat singing from semester 2 to semester 6. Only a few students successfully apply this vocal improvisation technique when singing in performances and jam sessions. The author as a lecturer of popjazz vocal practice in the Music Presentation Study Program has observed the difficulties experienced by the majority of students. Several stages of learning have been applied in the learning process, for example by understanding scales and chord patterns, developing the main melody in songs, enriching vocal dialects, to multiplying musical references. This stage of learning was not significantly successful in helping students master scat singing. This study aims to formulate a learning method of vocal improvisation techniques for scat singing. The data collection process is carried out by observing the learning process during lectures, interviews with students, and regular singing practice. Inductive qualitative data analysis, which is an analysis based on the data obtained then developed a certain relationship pattern or hypothesis. The research was conducted by qualitative methods, with the final result being a descriptive sentence formulation of steps to master the vocal improvisation technique of scat singing. This conclusion is expected to be an overview for lecturers in order to determine the right approach to help students master scat singing and dare to apply it in songs.
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Voropaieva, Olena. "Tania Maria’s creative work in the context of trends in the development of jazz in the second half of the 20th century (on the example of the 1980s compositions)." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 57–72. http://dx.doi.org/10.34064/khnum2-27.04.
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Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian performer (piano, vocals) and composer Tania Maria should be highlighted. Analysis of recent research and publications showed that Tania Maria’s creative work in the context of Latin Jazz development has not been sufficiently studied at the present time, being limited mainly by short references to biographical articles and interviews with the artist in foreign online publications. Thus, Tania Maria’s work requires a much deeper study that determines the feasibility and scientific novelty of the proposed research, which aims to reveal the genre and stylistic specificity of Tania Maria’s work in the 80s of the 20th century, the period, when the complex of her individual compositional and performing characteristics was formed. The result of the study was the disclosure, based on historical-genetic, comparative, analytical methods, of the genre-stylistic origins of Tania Maria’s “intonation vocabulary”, where the metrorhythmic and melodic structures of Brazilian samba and the hot-jazz component closely interact with each other, as well as the intonation-textural features of some compositions of the 1980s from the albums “Piquant” and “Come With Me”. Conclusions. Tania Maria’s creative work in the 80s of the 20-th century exemplified by compositions “Yatra ta”, “It’s Not for Me to Say” and “Come With Me” is a combination of genre and stylistic features of funk, Latin-American samba and elements of pop music (jazz-Latin-pop-funk). The musical art of the second half of the 20th century demonstrates a variety of styles and trends that were quite quickly “re-intonated” in the jazz language, which testifies to the universality of jazz as a unique form of musical thinking, creativity and cooperation of musicians. The combination of these styles is organic in line with the trend of development of musical art of that period and at the same time is the basis of Tania Maria’s unique performance style as a representative of both, South American and European jazz music.
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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (March 10, 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 meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
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Manko, S. "Analysis of the functioning of the domestic vocal variety school in the conditions of musical culture of Ukraine at the present stage." Culture of Ukraine, no. 72 (June 23, 2021): 118–23. http://dx.doi.org/10.31516/2410-5325.072.16.
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The aim. The aim of the article is to analyze the current stage of the functioning of the vocal variety school in the musical culture of Ukraine and identify certain trends in its development directions. In order to achieve the marked goal, it is necessary to solve the following tasks: to determine the specifics of the development of a modern Ukrainian vocal variety school, analyzing its real position and known methods for the teachers of a variety vocal and to reveal the directions of which their realization is in modern musical culture of Ukraine.
The methodology. In this publication, methods of comparative analysis and synthesis were used to identify the specifics of teaching a variety vocal by domestic teachers. Also, we used systemic and cultural approaches to the study of variety vocal school in the musical culture of Ukraine.
The results. Having studied the functioning of domestic modern vocal schools, it can be concluded that this phenomenon though is quite relevant in modern musical culture of Ukraine, based mainly on the generally accepted and already known methods of variety vocals. There are single cases when teachers form their own teaching methodology and distribute it as Iryna Tsukanova, demonstrating her own master classes on the Internet. But the main tendency among domestic vocal teachers is that they are based on already well-known vocal techniques, taking from them the basis that it is necessary for each particular performer.
It is worth noting separately such a trend of domestic artists-teachers, as a commercialization of teaching activities, when vocal workshops are carried out for a group of students that study with other teachers. Such events can be called a master class with a star-teacher and they become more popular.
Another trend when well-known artists, such as Natalia Mohylevska and Tetiana Piskarova create their own vocal studio based on vocal techniques that were developed by the heads of studios. Other teachers give their lessons in these studios, and celebrities conduct master class for students of their own institution.
Variety vocal schools that are different by their stylistics, as a jazz or rock schools are more narrowly specialized. This makes teachers rely on the generally recognized world techniques of jazz or rock music, concentrating on the specifics of these directions and working them out with students.
The scientific topicality. The work of the domestic vocal variety school in modern musical culture of Ukraine is investigated. The specifics of the development of modern vocal variety school of Ukraine is revealed. The well-known techniques of the variety vocal teachers are analyzed. The main tendencies that are the basis for Ukrainian teachers in their work with students are determined. One of them is based mainly on the techniques of a variety vocal of famous world teachers, the other one — on their own methods.
The practical significance. Since the vocal variety art in the musical culture of Ukraine occupies a quite important place, this publication may be useful for domestic modern variety singers, vocal teachers and scientists, which will study it in the future.
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Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.
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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing interest of classical performers in the music of the American composer is the successful holding of the IV G. Gershvin International Music Competition in New York (on November 7–10, 2019). Director and main organizer of the competition, Michael Bulychev-Okser, is the American pianist, the main winner of many international competitions in the United States, Italy, Andorra, Spain and Mexico. How does a musician of academic direction, whose inner professional intentions and way of thinking are brought up on the classical repertoire, perceive Gershwin’s jazz compositions? What is the specificity of modern reading of his music? In which cultural traditions should we look for the key to understanding Gershwin’s musical language, its rhythmic and intonational specifics? Finally, can a jazz pianist consider himself completely free from the culture of the academic tradition by playing Gershwin? The search for answers to all these questions has identified the problematic perspective of this article. The purpose of the article is to reveal the characteristic features of the performance of G. Gershwin’s transcriptions by modern academic pianists using specific examples and to determine the interpretational tasks of the performer. The research methodology is based on a comprehensive genre andstyle approach to the study of musical material, and also includes a comparative method used for concidering different performance versions of the same work. The main results of the study. Jazz and the culture of academic music work closely together in the style of G. Gershwin. Indicative in this sense was the idea of a concert eloquently called “Reunion of Classics and Jazz” (1924), for which the “Rhapsody in Blue” was created and where it was first performed by the author with the orchestra of Paul Whiteman. G. Gershwin, more than any other composer of his time, communicated with African-American musicians: he knew Will Voderi, Lucky Roberts, Duke Ellington; heard New York pianists play downtown and often visited the “Cotton Club” and other places in Harlem to hear the bands of Duke Ellington, Cab Calloway and other jazz musicians. But not only jazz was the area of interest and creative acquaintances of Gershwin. Along with jazz culture, there were many other musical styles. In the works of G. Gershwin, Ch. Ives, A. Copland in the early 1920s – mid 1940s there is an original combination of deep folk intonation with the composer’s technique of the XX century, up to the use of dodecaphonic-serial technique (Copland). The fusion of jazz and academic branches in Gershwin’s music, above all, takes place at the level of form. “I took the blues and put it in a larger and more serious form”, said the composer (as quoted by Schneider, 1999: 67). As a pianist, Gershwin did not receive a systematic professional education as a child, although he later had enough teachers. But that didn’t stop him from becoming a real pianist-virtuoso and a brilliant improviser. One should listen to archival recordings of Gershwin’s performance to get an idea of his performance style. Samples of his piano performances have been partially preserved: some acoustic and electric recordings, radio recordings, two sound films and a large number of piano videos (Gibbons, 2002). The studio recording of “Rhapsody in Blue” demonstrates Gershwin’s completely “academic” pianism – with clear, well-founded articulation, bright sonic fullness, thoughtful agogics of expressive declamation, which is only emphasized by the well-organized metric pulsation and dynamics by active rhythmic movement – and his true virtuoso skill. Should a modern pianist, performing Gershwin’s works, follow the example of a balanced and rather “academic” performance, as in his studio recording “Rhapsody in Blue”, or follow Gershvin’s interpretation, which can be observed in the transcription “I Got Rhythm”, where he clearly prefers the jazz element? It makes sense to compare different examples of Gershwin’s popular piano transcription of “The Man I Love”. The performance version of the English pianist Paul Barton is an attempt to imitate the specifics of the freedom of sound of instrumental jazz styles, however, as one can hear, the musical intonation is not always convincing, the breath is a bit torn, the agogics of chord melodic constructions performance the agogics of chord melodic constructions (upper layers of texture) is greatly exaggerated and the performing is practically “released” from calculation and feeling of time. As an undoubted plus of this version it is necessary to note huge attention to harmony as such, to vertical and balance within a chord – Barton’s harmony “breathes” and moves. This approach can be justified, because the harmony of Gershwin’s songs is always diverse, bright and inventive. The record of Gershwin’s 1959 “Songbook” by Ella Fitzgerald is available today. The composition “The Man I Love” in her performance can be one of the possible orienting points in the intonation of the main melodic voice, the calculation of its unfolding in time, the display of interval “tensions” and melodic intentions in Gershwin’s music. E. Fitzgerald’s vocal-jazz style presupposes a different temporal organization of the melody, different from the one suggested by P. Barton – the movement of its vocal recitation-intonation and improvisational vocals is accelerated, then somewhat slowed down, thus creating “compensated time” of a musical work, and it is with soft, relaxed, naturally light breathing. The modern media space presents the album of French pianist Alexandre Tharaud “Swing in Paris”, which includes two compositions by Gershwin: “The Man I Love” and “Do it Again!”. Three different interpretations of “The Man I Love” are popular on the You Tube website, where each video is original in its own way. These performings are variants, but the concept of details – melodic constructions, organization of rhythmic accents, as well as a sense of Gershwin’s style, is preserved. The sophistication of the Parisian salon is what distinguishes the game of Tharaud. The musician has a sense of proportion and uses the full range of expressive means of academic pianism. At the same time, the development of the melodic line takes place organically and effortlessly, alluding to vocal genre examples, to free breathing and “blues” articulation of jazz vocalists; rhythmic accentuation is unobtrusive but clearly felt. Summing up, we note that the “Tharaud approach” is certainly the closest to the reference. Conclusions. Proceeding from the synthetic nature of G. Gershwin’s music, comprehension of its stylistic and cultural origins, analysis of listened musical samples, let us single out the interpretation constants that must be taken into account by the performer of his compositions. Among them – the inheritance of agogics, articulation, “light” breathing, inherent in the vocal jazz manner, in the intonation of the melody; “Breathing” harmony with a colorful timbre filling of chords and subvoices united into a movable vertical-horizontal complex; understanding of rhythm as an independent expressive sphere that has ethnic roots in the music of the African American tradition.
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Pivnitskaya, Olga V. "The Phenomenon of Folk-Ethno-Rock in Russian Song Culture and Prospects for its Development in the Class of Pop-Jazz Vocals." Musical Art and Education 9, no. 1 (2021): 121–35. http://dx.doi.org/10.31862/2309-1428-2021-9-1-121-135.
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Dewey, Christopher, Austin Moore, and Hyunkook Lee. "Practitioners' Perspectives on Spatial Audio: Insights into Dolby Atmos and Binaural Mixes in Popular Music." Journal of the Audio Engineering Society 72, no. 7/8 (July 18, 2024): 504–16. http://dx.doi.org/10.17743/jaes.2022.0153.
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This paper presents the practitioners’ perspective on mixing popular music in spatial audio, particularly Dolby Atmos and the binaural mixes generated by the Dolby and Apple renderers. It presents the results of a dual-stage study, which utilized focus groups with eight professional music producers and a questionnaire completed by 140 practitioners. Analysis revealed the continued influence of stereo approaches on mix engineers, partly due to its historical dominance as a production platform and consumers’ continued use of headphones. It was also found that core elements of popular music productions, such as snare drums, tom-tom drums, kick drums, bass guitars, main guitars, and vocals, were less likely to have binaural processing applied compared with other sources. It was also shown there were perceived differences in the suitability of spatial audio mixing for specific genres, with electronic dance music, jazz, pop, classical, and world music rated as the most suitable. Regarding the binaural renderers, there was less user satisfaction with the Apple device compared with Dolby’s, and this dissatisfaction manifested mainly in the need for more user control. Finally, mix engineers were very aware of the importance of their mixes translating to smaller speaker systems and headphone playback, in particular.
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Hong, Yeong-Joo, Jaeyeon Han, and Hyeongju Ryu. "The Effects of Synthesizing Music Using AI for Preoperative Management of Patients’ Anxiety." Applied Sciences 12, no. 16 (August 12, 2022): 8089. http://dx.doi.org/10.3390/app12168089.
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Before a patient undergoes surgery, they are likely to complain of anxiety to various degrees. To address this issue, we designed and implemented a composition program using TensorFlow Recurrent Neural Networks (RNNs) to select music for learning. The nurses’ preferences and needs were assessed using the Geneva Emotional Music Scales-9 (GEMS-9) tool and focus group interview (FGI) methods for currently used sound sources and nurses at the operating room entrance. An FGI and GEMS-9 for preference analysis were conducted by nurses who currently work in the operating room, had experience with managing the operating room’s background music, and wished to participate voluntarily in this study on 31 January 2019 in an operating room simulation center. Interviews were held with a total of three nurse. The data were analyzed using a qualitative thematic analysis. Using GEMS-9 to evaluate 16 sample sources, the average of the sad–happy values was highest at four points, with a lower tension of 1.48. Happy, Joy, and Peaceful were classified as appropriate for background music in the operating room. Additionally, the top six songs were selected as suitable songs by calculating the difference in values among Sad, Tension, Tender, Nostalgia, and Trance, which were judged to be inappropriate along with Power and Wonder. The songs selected were two jazz songs, three bossa nova songs, and two piano classical songs. The results of this study show that music used in the operating room should contain a slow tempo such as slow classical, piano, strings, natural acoustics, and new age music. Music consisting of only musical instruments (preferably containing smaller arrangements of less than five instruments) is preferred over music containing human vocals. Based on the study findings, the conditions of the sound source to be used for learning were suggested after consulting with a music expert.
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Krom, Anna E. "David Lang’s Postminimalist Musical Theater." Vestnik of Saint Petersburg University. Arts 12, no. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.
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The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019), and “Anatomy Theater” (2016) — the author identifies the main features of Lang’s musical and theatrical style and traces a close relationship with the operas of his predecessors. They are brought closer by the appeal to postmodern dramaturgy (fragmentation, discreteness, commentarity), social problems, the desire for genre uniqueness of each performance, repetitive methods of organizing musical facture. In his theatrical work, Lang relies on postminimalism and repetitive technique, which manifests itself at different levels — dramatic, verbal (repetition of syllables, words, phrases in the libretto) and musical. A characteristic feature of Lang’s stage opuses is the synthesis of academic opera traditions and non-academic genres and directions (Musical, jazz, rap), which allows us to draw analogies with the art of crossovers. The Musical in some cases acts as the genre basis of the work (non-academic vocals, dances, a speech episodes). Lang’s theater is a chamber theater, it assumes a small composition of participants, placement of vocalists and orchestra members on the stage, laconic timing of plays. All these factors allow us to make an assumption about the formation in Lang’s musical and theatrical work of the next phase of the evolution of postminimalism, which can be characterized as postpostminimalism.
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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) (August 29, 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-structural, personality-developmental, activity-oriented, competence-based, cultural ones) and didactic principles facilitating the formation of the vocal and jazz culture (the principles of systematicity, visual aids, unity of artistic-emotional, technical and complex development of the vocal and jazz culture) have been determined. The stages (motivational-stimulating, cognitive-developmental, performing-creative) as well as pedagogical conditions for the formation of the teen-agers’ vocal and jazz culture have been outlined: construction of educational process taking into account the children’s capabilities to perceive vocal and jazz music; systematic complex development of all the components of the vocal and jazz culture consistently emphasizing them at different stages of the training; giving the opportunities for vocal and creative self-realization, diversification of the experience of jazz musical performing activities. General vocal and pedagogical methods have been revealed to be the leading ones (concentric, search-oriented, phonetic, imaginary or internal singing methods, comparative analysis); special methods enabling the formation of the teen-agers’ vocal and jazz culture have been determined: “a listening-jazz collecting box”, technical vocal and jazz exercises, creative vocal and jazz drills, etc. The experimental verification of the developed methodology has proved its effectiveness at classes on singing variety music at establishments of general secondary education. Keywords: teen-agers’ vocal and jazz culture, developing methods, scientific approaches and didactic principles, stages, pedagogical conditions and methods, classes on vocal and jazz singing.
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Suryati, Suryati. "Pemanfaatan YouTube sebagai Media Pembelajaran Vokal Pop Jazz di Prodi Pendidikan Musik Institut Seni Indonesia Yogyakarta." Resital: Jurnal Seni Pertunjukan 22, no. 2 (December 22, 2021): 117–26. http://dx.doi.org/10.24821/resital.v22i2.6040.
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Utilizing Youtube as a Learning Media for Pop-Jazz Vocal Course at Music Education Study Program of Institut Seni Indonesia Yogyakarta. The research aims to reveal the learning process of the Pop-Jazz vocal course and the utilization of youtube as an accompaniment in learning the Pop- Jazz vocal course. This research is expected to provide solutions for students who face problems in the learning process of the Pop-Jazz vocal course during the covid-19 pandemic. It is qualitative research with a case study approach. Data collection techniques were carried out through direct observation during the learning process. Furthermore, interviews with teachers and vocal students of Pop-Jazz were conducted to obtain the data. It was a case study of vocal students of Pop-Jazz Intermediate 1 at the Music Education Study Program. The literature studies were carried out to support the data and references. This study shows that the interest in vocal learning of Pop-Jazz at the Music Education Study Program by utilizing youtube as an accompaniment at the pop-jazz vocal course can be increased.
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Nataliya Sergeevna, Reshetnikova. "Repertoire bases of professional development of pop-jazz vocalist." Vestnik of Saint Petersburg State University of Culture, no. 2 (55) (2023): 88–93. http://dx.doi.org/10.30725/2619-0303-2023-2-88-93.
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The study deals with the issues of structuring the pedagogical repertoire used in the preparation of pop-jazz singing performers. The aspects related to the principles of selection of the pedagogical repertoire used in the process of forming the basic competencies of a professional vocalist are highlighted. In the article, the author refers to the concepts of «pedagogical repertoire», «professional competencies of a vocalist» and defines the stylistic approach of the determinant of the model in mastering the pedagogical repertoire and an important aspect of the formation of professional competencies of a pop-jazz vocalist. The division of the studied repertoire into certain groups and levels, according to the author, makes it possible to more clearly structure all the material recommended for mastering as part of the learning process. The paper introduces the concept of «repertoire matrix» of a teacher - a vocalist, which is one of the productive forms of mastering the pedagogical repertoire and increasing the overall repertoire volume while maintaining the qualitative characteristics of the performance. A systematic approach to mastering the pedagogical repertoire, which includes all the main stylistic layers of pop-jazz vocal culture, reflected in the working pedagogical programs, serves as a coordinate point of correlation for the formation of the vocalist’s professional competencies.
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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 (April 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 listening, was found to be significantly correlated with vocal improvisation achievement; (c) 3 factors were found to underlie jazz improvisation: jazz syntax, vocal creativity, and tonal musicianship; and (d) 3 factors were found to underlie free improvisation: musical syntax, vocal creativity, and scat syllable creativity.
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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 (March 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 many performers of the following decades – the period of New Orleans jazz, the era of swing, bebop and modern jazz – spark our interest. In addition to pronouncing the basic musical text, talented improvising vocalists have been using and continue to use scat singing till this day. The peculiarity of teaching jazz improvisation is also that it is a specific way of spiritual communication by musical means that can «say» more than words. It is a special concert genre that simulates a situation of direct spiritual communication, which occurs when two or more people related by a previously friendly relationship meet or during a meeting of people who have a sense of empathy between them. The specific features of a future vocal artist include combinatorial memory, imagination, fantasy, technical capabilities, and musical thinking, since the musician implements their spiritual and emotional potential in improvisation, operating with blocks of musical and artistic information during the jazz composition performance, combining them in different patterns, and thus finds the most complete, voluminous artistic embodiment of the improvisational idea. Vocal and jazz art is special in its manner, harmony, performance techniques, sound production, and orthoepy. Each style has its own professional performers whose artistic work presents the standard of the way the music sounds. Expressive means of improvisational technique in jazz are various, which is due to the specific features of variable jazz styles, individual performance style of vocal artists and the specifics of musical forms and genres typical of such technique.
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Pratama, Bayu. "Examining Tori Kelly's vocal improvisation on the song "Don't You Worry ‘Bout a Thing"." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 2 (June 27, 2024): 76–87. http://dx.doi.org/10.17509/interlude.v3i2.71594.
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This study examines the vocal improvisation in the performance of "Don't You Worry ‘Bout a Thing" from the movie Sing to improve the general comprehension of vocal methods in popular jazz music. This study aims to fill the vacuum in the current literature on vocal improvisation by studying the song's repertoire, with a particular focus on the vocal components. Researchers utilize a descriptive qualitative approach to observe and analyze the music directly, supplemented by intense listening sessions, to reveal the subtleties of vocal delivery. The goal is to explore the complex vocal improvisations that define the song, emphasizing how these aspects contribute to its overall artistic expression. This study not only provides instructional value for budding musicians but also enhances the general audience's understanding and enjoyment of jazz improvisation. This research offers a helpful update to existing knowledge by providing extensive insights into the vocal improvisation techniques used in "Don't You Worry ‘Bout A Thing". It addresses the need for more thorough data in this area. The findings emphasize the significance of improvisation in jazz, demonstrating how impromptu voice alterations can augment a song's emotional profundity and dynamic scope. The primary objective of this study is to enhance the comprehension and admiration of vocal improvisation among a broader range of people, promoting a more thorough involvement with jazz music and stimulating the growth of personal musical abilities and expressions.
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Boykin-Settles, Jessica. "Two Heads Are Better Than One." Resonance 1, no. 2 (2020): 163–90. http://dx.doi.org/10.1525/res.2020.1.2.163.
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Washington, DC–born vocalist and pianist Shirley Horn was one of the most singular and respected musicians on the jazz scene during a career that spanned more than five decades. Despite minimal accolades, Horn’s contributions to the art form are rarely rivaled. She was a virtuoso pianist and a genius song stylist. In a 1992 article in the Washington Post, prolific composer and arranger Johnny Mandel explained that “Horn’s playing wasn't just self-accompaniment. It was percussive counterpart and harmonic commentary that worked with the singing to create a whole, a work of art that was more than the sum of its parts. ‘It's almost as if when Shirley plays, she has two brains. I don't know how she can play what she plays and sing what she sings.…Playing piano like that is a very complex undertaking, and singing with that amount of sensitivity and concentration—she sounds like Siamese twins.’”1 Through recorded performances that best exhibit vocal phrasing, chord voicings, and comping patterns in the jazz tradition, Horn’s piano and vocal performance will be analyzed in order to demonstrate why her genius should occupy the top echelons of revered American musicians this country has ever produced. Jazz and classical musicians whom Horn cited as her biggest influences will be discussed to demonstrate how she absorbed and expertly integrated chosen elements of those individual styles into her own performance to create a distinctive sound and a unique approach to interpreting standard jazz repertoire. Through biographical information, Horn’s career will be examined through a lens of intersectionality to discover how social categorizations such as race, class, and gender might have played a part in informing her musical and professional choices.
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Zan, Luiza, and Stela Drăgulin. "Vocal Depersonalization in Scat Singing." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 195–212. http://dx.doi.org/10.24193/subbmusica.2022.1.13.
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"The purpose of this paper is to question the amount of personal investment in exploring the voice as an impersonal sound, in scat singing. Jazz singers and jazz voice teachers follow vocal practices that aim to control and distort the vocal timbre, to master microtonal intervals, to push and eventually overcome the voice’s limits. In scat singing, the boundaries of gender are subdued to the impulse of improvisation, thus, even though the timbre is a biological and a physical memory, influenced by the singer’s culture and experiences, the gender encoding can be reshaped inside the licks and patterns of the improvisation section. The current paper aims to prove that scat singing is the neutral ground where aspects of the voice can blend and disappear into one another: voice gender, vocal timber, technique, individual materiality, experimentation. Keywords: scat, improvisation, jazz, vocalists "
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Voropaieva, Olena. "Trends of modern Ukrainian jazz music in Germany in the XXI century (on the example of Tamara Lukasheva’s creativity)." Aspects of Historical Musicology 34, no. 34 (April 10, 2024): 139–56. http://dx.doi.org/10.34064/khnum2-34.06.
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Statement of the problem. European jazz art of the 21st century continues to develop the trends that were formed in world jazz in the last third of the 20th century. Among them is the interaction with musical ideas of folklore of various peoples of the world, as well as rock music. As a result of this process, such phenomena as ethno-jazz, fusion, and funk and there experimental types were formed, which is found a wide distribution in the territory of Ukraine and provided many opportunities for the disclosure and popularization of the national musical culture. Scientific interest is seen in the study of trends in its development not only within the country, but also abroad, in particular in Germany, where Ukrainian jazz musicians come to. In modern jazzology, the topic of the Jazz and Ukrainian folklore interaction has been studied to some extent, as well as the theme of interaction between jazz and academic music. Some features of the activities of Ukrainian jazzmen in Ukraine and abroad, including T. Lukasheva, are revealed in interviews with musicians, popular science articles, as well as reviews of albums or concerts. Objectives, methods, and novelty of the research. The purpose of the article is to reveal the genre-stylistic specificity of T. Lukasheva’s work in the context of Ukrainian jazz music making in Germany in the 21st century. A set of scientific methods, such as historical-genetic, comparative, interpretive and analytical, contributed to the disclosing the theme of the article. The novelty of the research topic is connected with almost complete lack of its researching in the national jazz studies. Research results and conclusion. T. Lukasheva’s work is in line with the trends that emerged in Ukrainian jazz at the turn of the twentieth and twenty-first centuries: ethno-jazz, funk, fusion in there experimental forms. The individualization of her author’s style took place in Germany, where she revealed herself not only as a virtuoso vocalist and pianist, but also as a talented composer and arranger. This was manifested in the compositions that were performed in the concerts at the Stadtgarten and were considered in the study. They confirm the opinion that the artist masterfully owns her voice, demonstrates a variety of vocal techniques, embodies a wide variety of artistic images. The musician has a wide vocal range of three octaves, non-standard harmonic thinking and a sense of musical time, which allows her to freely feel herself in improvisational solos and in other sections of the form where complex meter and rhythm meet. It is indisputable that one of the leading driving forces in jazz is a creative personality, who must have leadership qualities, bright charisma, musical intelligence, and attract like-minded musicians. All these qualities are fully characteristic of Tamara Lukasheva.
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Levinson, Jerrold. "Jazz Vocal Interpretation: A Philosophical Analysis." Journal of Aesthetics and Art Criticism 71, no. 1 (February 2013): 35–43. http://dx.doi.org/10.1111/j.1540-6245.2012.01539.x.
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Nam, Ye Ji. "Using Principles of Jazz Improvisation for Vocal Majors: Focusing on Vocal Majors." Korean Association for the Study of Popular Music 31 (May 31, 2023): 95–126. http://dx.doi.org/10.36775/kjpm.2023.31.95.
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This study aims to develop a method of through singing that the principles of jazz improvisation, but focuses on improvisation as a tool for composition rather than to cultivate authentic jazz improvisational techniques. The lessons are divided into four phases: singing chord tones, singing chord tones over chord progressions, creating melodies over chord progressions, and creating melodies with lyrics, which can be broken down into smaller steps depending on the level of the overall lesson and the learner’s theoretical background and achievement. In the class, learners can experience creation through singing and lay the foundation for creative work. The significance of this study lies in the development of a pedagogical approach to help vocal majors expand their musical spectrum through opportunities to combine theory and performance.
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Pintilie-Romanenco, Cristina. "Folkloric elements in the repertoire of the instrumental vocal ensemble „Orizont”." Dialogica. Revistă de studii culturale și literatură, no. 1 (May 2023): 72–80. http://dx.doi.org/10.59295/dia.2023.1.09.
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The purpose of this article is to identify the methods of interaction of national folklore with the idioms of pop music and jazz in the creation of the vocal-instrumental group „Orizont”, led by Oleg Milstein. Based on the detailed analysis of the compositions „La morișca”, „Leana”, „Moldovan tunes”, etc. the author reveals the most representative methods of involving Romanian folklore in the sound texture of the pieces performed by the band „Orizont”. Among them it is worth mentioning: quoting popular songs, composing contrapuntal lines to folk melodies, combining themes of folkloric origin with stylistic and genre elements of pop, rock and jazz music. Special attention is paid to the treatment of vocal jazz methods used by the members of the „Orizont” band.
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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 (June 1, 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 to listen a lot, too. I often felt that my sound relied quite heavily on coincidence. But then I learned to understand, feel and know my voice. A lot of jazz vocalists are eager to know how to use their voice in jazz. A combination of spectroscopy and anatomy provides clarification.
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Zan, Luiza, and Stela Drăgulin. "Vocal Improvisation – A Cognitive and a Psychological Process." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (August 10, 2023): 207–18. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.13.
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"The purpose of this article is to compare the neurophysiological processes of the brain during vocal improvisation and the psychological implications of a spontaneous composition of melody. By taking command of the present, while at the same time bringing forward to the audience an extensive amount of musical knowledge and specific vocal techniques, vocal improvisation is an extensive field of interest for jazz singers and jazz voice educators alike, and its distinct processes are yet to be fully understood and explained. In my years of studying and practicing vocal improvisation, I have sought to understand the balance between these two components – the cognitive and the psychological coordinates of the vocal improvisation and the implications of these coordinates on our everyday life, outside the performing arts frame. The reasons why a singer makes certain musical choices when creating spontaneously, while avoiding others, together with the reasons why improvisation is important in our everyday lives, these reasons make the object of this study. Keywords: vocal improvisation, spontaneous creation, psychological process"
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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 (September 30, 2020): 141–50. http://dx.doi.org/10.47116/apjcri.2020.09.13.
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Munteanu, Angelica, and Tatiana Berezovicova. "Vocal duet in pop and jazz music: some aspects of interpretative activity." Akademos, no. 3(62) (December 2022): 128–34. http://dx.doi.org/10.52673/18570461.22.3-66.15.
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In this article, some aspects related to the interpretive activity of vocal duets in pop and jazz music are examined. The vocal duet occupies an intermediate position between solo and ensemble performance: on the one hand, it is a collective consisting of two participants, and on the other – an association of soloists, each of whom is, as a rule, an artistic personality pursuing a career standalone stage. The authors emphasize some basic aspects of the vocal duet activity, such as the mutual coordination of the parties, the psychological compatibility of the partners, their interaction in the process of stage performance, the manifestation of artistry, without which there is no duet’s artistic dialogue. A special attention is paid to the formation of the repertoire, which in pop and jazz music has a special specificity, compared to academic music. The nominated aspects are of major importance both for singers and for teachers working with vocal duets in music education institutions. Some theoretical theses are confirmed by musical examples, taken from the repertoires of duets in the country and abroad, as well as from edited pieces.
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Husni, Wikal, Asep Saepul Haris, Rafiloza Rafiloza, and Muhammad Zulfahmi. "Syncop Section Inspirasi Vokal Goreh Tapuk Galambuak Randai Minangkabau dalam Karya Komposisi Musik Karawitan." Jurnal Musik Etnik Nusantara 1, no. 2 (November 30, 2021): 140. http://dx.doi.org/10.26887/jmen.v1i2.2242.
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This musical composition, entitled Syncop Section, was inspired by the game Tapuak Galambuak, the traditional art of Randai in Minangkabau. Tapuak Galambuak is a very interesting game movement in Randai's energetic performance and serves as a transition from changing story segments in Randai art. The Tapuak Galambuak game has a musical movement, in which there is a Goreh vocal music system which is played in a syncopated game pattern with vocal syllables such as hep, tah, tih, has, intertwined with each other by clapping hands on galembong. The principle of the Tapuak Galambuak game has similarities with the rhythm of jazz music such as syncopation, improvisation and unison, so that it becomes a unique one if it is collaborated. Furthermore, the Syncop Section combines two different types of typical music (Tapuak Galambuak and Acid Jazz) but have the same playing principle. Acid Jazz is part of the Jazz music genre that combines several elements from other genres such as Funk, Disco, and Soul. Syncop Section's musical compositions are made using the popular music approach method in the Acid Jazz sub-genre using basic concepts and developments that give rise to a musical collaboration. This work is shown in audio visual form using the concept of Work From Home during the current pandemic. The form of application of this work is presented by means of audio-visual performances aimed at reaching a wider audience.
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FARLEY, JEFF. "Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act." Journal of American Studies 45, no. 1 (July 19, 2010): 113–29. http://dx.doi.org/10.1017/s0021875810001271.
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Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation's most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician's individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example of both national achievement and confrontation with racism. Another important aspect of the JPA is the definition of jazz as a “high” art. While there remains a vocal contingent of critics arguing against the JPA's definitions of jazz, such results will not likely see many calling for an end to its programs, but rather a more open interpretation of what it means to be America's music.
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Gorovoy, Sergiy, Julia Pisarenko, and Olga Ishchenko. "INTERACTION OF INTERPRETATION AND IMPROVISATION IN JAZZ VOCAL PERFORMANCE." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 223–28. http://dx.doi.org/10.32461/2226-3209.2.2021.240070.
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The purpose of the article is to explore the various interpretations of the concepts of "improvisation" and "interpretation" encountered in modern science, to identify the most appropriate definitions of these concepts that reveal the specificity of jazz performance and determine the relationship of these two concepts. The methodology of the article is the researches of improvisation and interpretation of various orientations. First, a scientific approach is used, which characterizes this process as a creative method. The scientific works devoted directly to improvisation in jazz are also used, which contain analysis of the improvisations of well-known performers and exercises for teaching local techniques. The scientific novelty of the work is that the term "interpretation" is considered in a broader sense in interaction with improvisation, that is, not only as an interpretation of other people's musical ideas in performing activities but also as an interpretation of personal artistic intentions in the process of musicians' activity. Conclusions. The interaction of interpretation and improvisation is clearly traced, since interpretation is an aspect of musical practice that proceeds from the differences between the recorded music notation and the live performance of the work. Consequently, this process inherent element of unpredictability. The interrelation of the interpretation of the musical text and the mastery of the improvisatory demonstration of this text by the interpreter, which is determined by his individual qualities, is traced.
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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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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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Szlamowicz, Jean. "“Screamin’ and Shoutin’ !” A Cultural and Lexicographic Study of Exultation in Jazz." Recherches anglaises et nord-américaines 51, no. 1 (2018): 113–28. http://dx.doi.org/10.3406/ranam.2018.1568.
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This study aims at mapping out a certain number of concepts that jazz has used to describe emotions. As such, emotions are coded in a network of preset cultural references and not just personal experiences. The description of jazz as a form of language, often presented as the equivalent of a vocal utterance, is part of the aesthetic fabric of the music. The emotions that are described by those means are based on that correspondence between language and music, and are often derived from an implicit comparison with church practices such as preaching or whooping. The spiritual dimension of emotions is further embedded in descriptions of vocal extremes (screaming, shouting, growling, moaning...) and other hyperbolic metaphors, especially connected to fire (hot, cook, smoke, burn, steam...). The allusive value of such words establishes a shared connection between speech community members, revealing the cultural structure of the description of emotions.
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Serhiy, Hordieiev. "Pedagogy of modern Ukrainian theater: on the way to artistic synthesis." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 91–107. http://dx.doi.org/10.34064/khnum1-63.05.
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Statement of the problem. Modern Ukrainian theatre studies, based on the theatre practice of the 20th – 21st centuries, pay considerable attention to the issues of evolution of the directing and acting art, theatre pedagogy, synthesis of traditional and innovative forms of education for creative youth. These explorations acquire special importance in the context of today’s theatre art, marked by the creative and pedagogical searches of Ukrainian theatre masters. The article is about the artistic and cultural situation in modern theatre education in Ukraine, the search for education models for actors and directors, about the role of the theatre school and teachers – heads of creative workshops – in this process. This topic, expressing the unique picture of Ukrainian theatre pedagogy at the beginning of the 21st century, has not yet become the subject of special consideration in theatre studies. At the moment, there are no fundamental studies that would highlight the pedagogical activity of masters of modern Ukrainian theatre, but there are theoretical works of directors and actors that touch on the problems of modern theatre art and the theatre school of Ukraine. The purpose of the proposed study is to summarises the pedagogical experience of theatre artists of Ukraine, directors, and actors who, in the process of forming the professional skills and spiritual culture of theatre students, actively include in the educational cycle of the special disciplines as playing musical instruments, plastic arts, history and theory of music, jazz improvisations, vocal ensemble, etc. Methodology. The basis for the search of expanding the methods for the education of modern theatre students for the article’s author became, first of all, theoretical, practical, and pedagogical achievements of outstanding masters of modern Ukrainian theatre, which are for us the embodiment of professional, aesthetic and methodological searches in the realm of acting and directing art, as well as the author’s own long-term creative experience acquired during acting, directing and teaching work. Working out the mechanisms of universalization of the methodological base of academic art education in the theatre school, the author of the article notes the trends and directions of innovative approaches, which determine the ways of forming a creative personality in the process of reforming theatre education in Ukraine. The scientific novelty of the research is conditioned by the study of the peculiarities of pedagogical ideas, methods and techniques of modern theatrical personalities, actors, directors, and theatre teachers. From the theatre schools and areas of training of Ukrainian artists, those whose searches are aimed at creating conditions for the manifestation and development of versatile talents of the personality of the future master of the stage have been selected. The latter means the development of the future theatrical specialist’s acting, directing, musical, plastic, and intellectual properties under the guidance of theatre teachers giving special disciplines, such as “Directing”, “Acting skills”, “Choreography”, “Vocal”, “Stage movement”, “Plastic education of directors”, “Work of a director with a composer”, “History and Theory of Music”, which are taught with the involvement of the latest pedagogical technologies and demonstrate originality of the teachers’ artistic thinking. Results and conclusions. The tendency to experiment and innovation has always distinguished the best representatives of the Ukrainian theatre school, the creative achievements of many of which are related to the use in pedagogical practice, in addition to professional subjects (directing, acting), a cycle of special disciplines. At the same time, special attention is paid to music (vocals, playing musical instruments, history and theory of music), plastic (choreography, pantomime) and physical education. The multifaceted creative and pedagogical activity of the masters of modern Ukrainian theatre, which unfolded in the 20th and early 21st centuries, became the forerunner of the searches of the last decade and witnessed innovative explorations of Ukrainian theatre pedagogy. Today, the experience of the National University “Ostroh Academy” is of significant importance for improving the learning process, in the methodology of which the principle of organic combination of K. Stanislavsky’s system, a metaphorical approach to creating a stage image according to the “transformation method” of L. Kurbas, with the pedagogical technologies of “play theatre” is laid down. In our opinion, it is the personal method of professional training of Ukrainian actors and directors under the author’s master’s program “Metatheatre” of the director and theatre teacher of the Ostroh Academy O. Liptsyn that gives reasons to assert that various facets of the artistic traditions of the Ukrainian avant-garde theatre, whose leader in Ukraine was Les Kurbas, are clearly manifested in the innovative ideas and searches of his followers, influence the formation of innovative technologies of the modern theatre school, which significantly expands the creative possibilities of acting and directing art, and becomes an integral component of the stage pedagogy in Ukraine.
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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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KOSENKO, P. "MECHANISMS OF PRACTICAL ASSESSMENT OF OBJECTIVE REGULATIONS OF VOICE PRODUCTION IN THE PROCESS OF VOCAL PERFORMANCE TRAINING OF FUTURE TEACHERS OF THE ART OF MUSIC." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 2 (October 6, 2022): 174–83. http://dx.doi.org/10.31494/2412-9208-2022-1-2-174-183.
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Since, under the influence of the information environment, today's youth show an active interest in singing as a form of musical performance, the vocal and performing training of the future music teacher acquires particular importance. Today, when beginning singers seek to test themselves in the pop, academic, folk, and even jazz singing genres, it is not enough for a vocal teacher to master a particular vocal style to work productively with them. It is also necessary for him to learn the objective regularities of the functioning of the singing voice, which will allow finding appropriate means of implementation for the variety of vocal sounds in pedagogical work today. According to the author of the proposed publication, the possibility of learning these regularities will depend on the presence of a complex of controlled sensations acquired by practicing, thanks to which different types of vocal sound will be able to associate with a determinate mechanism of sound production. It will become possible if, during classroom and independent work, the student can dive іn the process of active observation of the complex interaction of auditory, resonator, and proprioceptive (muscular) sensations that complement singing. As a result, having gone through the trials of overcoming his own mistakes, the vocalist will find confirmation of the correctness of the actions of the vocal apparatus through the signals sent to him by his own body. He will learn not only to analyze the quality of the voice sound but also to imagine the mechanism of its work during voice formation. In the future, when a young specialist starts teaching, he will be able to choose the efficient performing tools for reproducing different types of voice sounds. In addition, he will be able to develop such sensitivity in himself, which will open the possibility of noticing the student's mistakes, guessing their reasons, and passing through and refracting the latter's vocal sound through his sensation. Key words: singing, voice production, musical hearing, resonator sensations, proprioception.
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Madura, Patrice D. "An Exploratory Investigation of the Assessment of Vocal Jazz Improvisation." Psychology of Music 23, no. 1 (April 1995): 48–62. http://dx.doi.org/10.1177/0305735695231004.
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Maikovskaya, Larisa S., and Dmitry I. Gemaddiev. "Main Trends and Guidelines in Modern Pop-Jazz Vocal Pedagogy." Musical Art and Education 10, no. 4 (2022): 89–100. http://dx.doi.org/10.31862/2309-1428-2022-10-4-89-100.
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Fardian, Fardian. "KONSEP MUSIK JAZZ FUSION BALI PADA KOMPOSISI SANGHYANG LEGONG KARYA INDRA LESMANA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 16, no. 2 (December 30, 2023): 133–48. http://dx.doi.org/10.33153/sorai.v16i2.5683.
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Jazz Fusion music is one of the music styles currently developing in Bali. The characteristics of Jazz Fusion include combining two musical concept approaches, between local music concepts (Balinese tradisi) and foreign music (western), which results in a different Jazz musical identity. One musical work, Sanghyang Legong, describes the situation of Balinese Jazz Fusion music. Sanghyang Legong musical work results from a collaboration between famous Indonesian jazz musician Indra Lesmana and Balinese gamelan musicians I Made Subandi (alm.) and I Wayan Sudiarsa. This work uses Gending Sanghyang as a source of inspiration developed through a jazz music aesthetic approach. This composition received great appreciation from the music community inside and outside Bali. After being mass-produced in 2017, Sanghyang Legong attracted over 36,000 monthly views on YouTube, Spotify, and Apple Music. This article aims to educate the reader on the composer’s creative process, the resultant musical form, and the work’s significance. The formulation of the problem includes (1) the process of creation, (2) musical form, and (3) implications of Sanghyang Legong composition. The research method uses a qualitative design with a descriptive approach to musicology. Data collection through documentation and interviews. Analysis through the stages of data reduction, data presentation, and conclusion. The elaboration of instruments and playing techniques of Gamelan Singapraga, Suling (Balinese Flute), and Balinese Gending Vocal Style showed the concept of Jazz Fusion music in the composition of Sanghyang Legong. The song has five parts: Solo, Intro, Verse, Chorus, and Interlude. This work has an impactful implication for the sustainability of tourism and Bali’s creative economy.
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Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (June 2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.
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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.
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Blahó, Attila. "Zoltán Kodály’s Art in Terms of Jazz. Analysis of Epigram 7." Studia Universitatis Babeş-Bolyai Musica 68, no. 1 (June 30, 2023): 29–35. http://dx.doi.org/10.24193/subbmusica.2023.1.02.
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"Jazz music and twentieth-century compositional music have interacted since the beginning. In the same way that one cannot talk about modern music today without mentioning Béla Bartók, his colleague and good friend Zoltán Kodály, also plays an important role in twentieth-century music. The compositional techniques that we associate with Bartók's name can also be found in Kodály's art. In this study, I scrutinize Zoltán Kodály's less well-known play, the 7th Epigram. Kodaly's suggestion on the preface sounds like this: The vocal part can be performed on any string or wind instrument, possibly in the upper or lower octave. It works best for those who use it as reading practice by accompanying their singing. As a jazz musician, compositional music has always influenced me, and I was curious to compare the harmonic relationships between the two styles. It affected me as a revelation when I discovered in the works of Johann Sebastian Bach those seventh chords or alterations that can also be found in the language of jazz. Kodály's Epigrams became interesting for me precisely because of this. Keywords: jazz, chords, alterations, upper extensions"
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Quist Christensen, Liv, and Jennifer Branlat. "“You should be more cute, you know”: cuteness and negotiations of power in Japanese vocal jazz." European Journal of Musicology 21, no. 1 (May 10, 2023): 24–43. http://dx.doi.org/10.5450/ejm21.1.2022.24.
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Jazz has for a long time been a male dominated field and is to a great extend produced as a hegemonic masculine project still today. In this study, our focus is on the social context of music performance in Japan, rather than on an analysis of jazz music itself. We attempt to understand musicians’ meaning making processes: the ways in which they talk about their music, manage identity-related tensions, and ultimately how musicians make sense of their experiences on and off stage. Studying the social context around music therefore provides insight into social history itself, into different constellations of gender organization available at any given moment, whether these are hegemonic or resistant.
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Baker, Wilbur R. "An Analysis of Vocal Jazz Repertoire by Three Selected Publishing Companies." Update: Applications of Research in Music Education 30, no. 1 (August 26, 2011): 54–63. http://dx.doi.org/10.1177/8755123311418625.
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The purpose of this study was to analyze SATB (soprano, alto, tenor, bass) vocal jazz octavos ( N = 150) from three publishers in an effort to (a) identify the most prolific arrangers/composers, (b) cite improvisation opportunities, (c) document publisher improvisation markings, (d) indicate repeated titles, (e) identify most popular styles, and (f) investigate instrumental accompaniment combinations. Results revealed that the most prolific composers were Kirby Shaw, Steve Zegree, and Darmon Meader. Less than one fourth (22.6%) of the charts included improvisation opportunities for singers with transcribed notation ( n = 18) or instructions ( n = 16). Swing and Ballad styles were more prevalent than Latin and Contemporary. Categories for instrumental accompaniments included none/a cappella ( n = 31), bass ( n = 1), piano ( n = 39), combo ( n = 48), and augmented combo ( n = 32). Further results and discussion are included.
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GIVAN, BENJAMIN. "Dizzy à la Mimi: Jazz, Text, and Translation." Journal of the Society for American Music 11, no. 2 (May 2017): 121–54. http://dx.doi.org/10.1017/s1752196317000049.
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AbstractThis article addresses issues of translation and transnational exchange, taking as a case study the two-pronged collaborative relationship between the French jazz singer, lyricist, and translator Mimi Perrin (1926–2010) and the African American trumpeter Dizzy Gillespie (1917–1993), whose memoir Perrin translated into French and with whom she collaborated on a 1963 jazz album. Perrin, who is the article's principal focus, founded the successful vocalese singing group Les Double Six in 1959 and then, after abandoning her musical career for health reasons in 1966, forged a new career as a literary translator. The article begins by examining her work as a translator of African American literature and demonstrates that her French edition of Gillespie's autobiography lacks some of the original's connotative cultural signification, in particular meanings conveyed through the book's use of black dialect. The article then turns to Perrin's work as a vocalese lyricist, which is notable in that she conceived of her lyricization of jazz improvisations as a sort of translation process, one that involved carefully selecting words in order to mimic the sounds of musical instruments. Her musical innovations are exemplified by a series of original French texts, set to Gillespie's music, on science fiction themes.
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STRAS, LAURIE. "White Face, Black Voice: Race, Gender, and Region in the Music of the Boswell Sisters." Journal of the Society for American Music 1, no. 2 (May 2007): 207–55. http://dx.doi.org/10.1017/s1752196307070083.
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The New Orleans hot jazz vocal trio the Boswell Sisters was one of the leading ensembles of the 1930s. Enormously popular with audiences, the Boswells were also recognized by colleagues and peers to be among the finest singers, instrumentalists, and arrangers of their day. Many jazz historians remember them as the first successful white singers who truly “sounded black,” yet they rarely interrogate what “sounding black” meant for the Boswells, not only in technical or musical terms but also as an expression of the cultural attitudes and ideologies that shape stylistic judgments. The Boswells' audience understood vocal blackness as a cultural trope, though that understanding was simultaneously filtered through minstrelsy's legacy and challenged by the new entertainment media. Moreover, the sisters' southern femininity had the capacity to further contexualize and “color” both their musical output and its reception. This essay examines what it meant for a white voice to sound black in the United States during the early 1930s, and charts how the Boswells permeated the cultural, racial, and gender boundaries implicit in both blackness and southernness as they developed their collective musical voice.
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SAGEE, ALONA. "Bessie Smith: ‘Down Hearted Blues’ and ‘Gulf Coast Blues’ revisited." Popular Music 26, no. 1 (January 2006): 117–27. http://dx.doi.org/10.1017/s026114300700116x.
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A re-examination of Bessie Smith's first two released blues recordings – ‘Down Hearted Blues’ and ‘Gulf Coast Blues’ – demonstrates that her interpretative originality and expressive individuality were evident from the start of her recording career in 1923. The micro-components of Bessie's early vocal tendencies are revealed through full transcriptions of her vocal line on each of these recordings combined with detailed description and analysis of the pitch content, the main rhythmic and melodic characteristics, and the melodic-harmonic and text-music relationships. The method demonstrates that, although Bessie's phrases display some similarities with each other, they constantly vary in imaginative ways, matching her with true jazz improvisers.