Relevant bibliographies by topics / Piano music (Jazz), Arranged

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

Academic literature on the topic 'Piano music (Jazz), Arranged'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Piano music (Jazz), Arranged"

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WRIGGLE, JOHN. "Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet." Journal of the Society for American Music 6, no. 2 (May 2012): 175–209. http://dx.doi.org/10.1017/s175219631200003x.

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AbstractThe American popular music tradition of “jazzing the classics” has long stood at the intersection of discourses on high and low culture, commercialism, and jazz authenticity. Dance band arrangers during the 1930s and 1940s frequently evoked, parodied, or straddled these cultural debates through their manipulations of European classical repertoire. This article examines Swing Era arranging strategies in the context of prevailing racial essentialisms, conceptions of modernism, and notions of technical virtuosity. The legacy of African American freelance arranger Chappie Willet, and his arrangement of Beethoven's Piano Sonata, op. 13 (“Pathétique”) for the black dance band of Jimmie Lunceford, suggests that an account of the biography and artistic voice of the arranger is critical to understanding the motivations behind these hybrid musical works.
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Biliaieva, N. V. "Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 171–90. http://dx.doi.org/10.34064/khnum2-18.10.

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Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding musician, who was actually the founder of professional jazz education in Kharkiv, is not currently the subject of widespread discussion in contemporary Ukrainian musicology. There are few sources that would cover O. I. Litvinov’s life and career. For the first time, he is mentioned as the founder of pops’n jazz performance department in a print publication dedicated to the 85th anniversary of KhNUA named after I. P. Kotlyarevsky. In the same context, O. Litvinov’s name is found in O. Kononova’s essay on the evolution of music education in Kharkiv in the jubilee edition dedicated to the 100th anniversary of the University. There is a biographical article in this very anniversary publication. In the earlier anniversary edition “Pro Domo mea” (on the 90th anniversary of the institution) there is some information about O. Litvinov regarding the history of the jazz department creation. Basic biographical data are briefly presented in the article of I. O. Litvinova in the Encyclopedia of Modern Ukraine. A small booklet dedicated to the major milestones of O. Litvinov’s life and creative work was published in the KhNUA (then KhSUA) named after I. P. Kotliarevskyi to mark the 75th anniversary of the musician. There are also several publications devoted mainly to specific dates in the creative life of the maestro (concerts, anniversaries, etc.): by H. Derev’ianko, L. Lohvynenko, M. Dvirnyi, A. Moshna, I. Polska, and O. Sadovnikova. Among purely research works devoted to this striking personality are the Master’s work by Yu. N. Shikova, which was written under the guidance of І. І. Polska at Kharkiv State Academy of Culture. The purpose of the article is to systematize existing information on the life and creative path of the prominent Kharkiv musician, give a brief description of the main features of his performing and composing style. Methods. The work employs historicobiographical, analytical and comparative methods, as well as a genre-stylistic approach. Results. O. Litvinov was born on November 17, 1927 in Zaporozhye. He received his elementary education at a piano music school. From 1943 to 1951 he was in military service, participated in the World War II. After the war, he continued to study music at Kharkiv Music College named after B. Lyatoshynsky, later at the Composition Faculty of Kharkiv Conservatory. He was expelled from there because of his passion for jazz. From 1951 he continued his musical activity as an artist of the MIA Variety Orchestra (in Dnepropetrovsk), in 1955–1956 he was a soloist of the Sakhalin Oblast Philharmonic and Khabarovsk Regional Philharmonic. In 1956–1958 he was the leader of the variety band of the Palace of Culture for Food–Industry Workers, in 1958–1961 he was the leader of the concert band of the Palace of Culture for Builders. From 1961 to 1973, he was the director of his own collective – Honoured Variety Ensemble “Kharkivyanka” at Kharkiv Electromechanical Plant. In 1965 he received the title of Honored Artist of Ukraine, in 1978 – People’s Artist. From 1973 to 1978 – Artistic Director and Conductor of the “Donbass”, Honored Mining Ensemble in Donetsk; from 1978 to 1980 – assistant at the Department of Cultural Studies, director of the Jazz Orchestra at Kharkiv Institute of Law. Since 1980 he worked permanently at Kharkiv I. P. Kotliarevskyi State Institute of Arts: first as a senior lecturer, later as an associate professor of the Chamber Ensemble Department, then as a professor of the Orchestra Wind Instruments Department. Since 1994 he created and headed the Department of Variety Orchestra Instruments, and at the same time he directed the variety-symphony orchestra of Kharkiv State Academy of Culture, the violin ensemble of the National Academy of Law named after Yaroslav the Wise. Since 1999 O. Litvinov was a full member of the Ukrainian Academy of Sciences of National Progress. In 2001 he became a diploma winner of the regional competition “Higher school of Kharkiv region – the best names” in the nomination “Head of Department”. In 2002 he was awarded the Honorary Medal of the Ministry of Culture and Arts of Ukraine. He died on March 15, 2007. O. Litvinov’s creative personality combines the image of composer, arranger, conductor, performer-multiinstrumentalist (apart from piano O. Litvinov played the accordion, organ, wind instruments, violin). O. Litvinov’s works employ the best achievements of world classics and Ukrainian academic music, in particular, the Kharkiv composition school, and embody the best features of jazz and, more broadly, variety music of the twentieth century. These stylistic origins often coexist organically in one piece by O. Litvinov. The performance style of O. Litvinov as a conductor is characterized by very clear, bright, emotional gestures, especially outstanding sounding of the orchestra, the ability to clearly show every change in the thematic development of the piece. The style of O. Litvinov’s arrangements was significantly influenced by the music of Hollywood films, the art of contemporary Soviet composers – Saulsky, Broslavsky, Pokrass, Dunaevskyi, jazz masters – Tsfasman, Utesov, Bernstein and others. Conclusions. O. Litvinov’s creative life was very bright and rich, and his musical activity was diverse and multifaceted. In the present works, the main focus is made more on the “polyphony” (according to A. Mizitova and A. Sadovnikova (2002, p. 17) of this life, its external events. Characteristics of the composer’s, performing, conducting styles of the artist are “inscribed” in this polyphony only as its “voices”. However, each of these voices needs, in our opinion, more detailed consideration. For example, O. Litvinov’s compositional heritage is very large, but only a few of his compositions are performed today and well known to the public. In fact, only one piece for violin ensemble (or for violin and piano), “Eternal Movement”, received true popularity among the performers and the public. Most other works are not published, and the fate of most scores is unclear. So, the direction of further research can be related to a more detailed study of some particular works of O. Litvinov that have survived as well as to deepening knowledge about his performing and pedagogical activity.
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Pavlenko, A. M. "Development of jazz accompaniment skills of future music teacher in process of piano training." Musical art in the educological discourse, no. 2 (2017): 118–22. http://dx.doi.org/10.28925/2518-766x.20172.118122.

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The article highlights the ways of development of jazz accompaniment skills of future music teacher in the process of his piano training. It examines the genre and stylistic peculiarities of solo piano jazz standards, specificity of jazz trio music playing. It suggests the methods and musical creative tasks for effective development of jazz accompaniment skills. A piano is an important musical instrument which plays a significant role in jazz development. The artaesthetic development of student, his creative abilities training and formation of music performing competence occur in the process of such education. An important aspect of development of jazz accompaniment skills is mastering the stride-piano technique. This style requires a perfect performing technique and ability to play with the left hand as fluently as with the right one. Considering the individual peculiarities of a future music teacher, his technical level and a step-by-step methodology will provide for effective stride-piano technique mastering in the process of his piano training. The use of the jazz accompaniment creation method will provide for the broadening of a performing capability of a future music teacher while accompanying a solo singer or a music band. In the following article the musical creative tasks and practical exercises aimed at the development of the left-hand playing technique and coordination on a piano keyboard and mastering the basic jazz accompaniment elements, its rythmic patterns have been suggested.
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Amarandei, Teodor. "Piano Concerto and Jazz Music in the Second Half of the 20th Century. New Approaches to the Stylistic Fusion Concept." Artes. Journal of Musicology 26, no. 1 (April 1, 2022): 222–34. http://dx.doi.org/10.2478/ajm-2022-0014.

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Abstract In the early years of the twentieth century, jazz and academic music each followed a distinct path, each exhibiting its own stylistic evolution. Most jazz musicians did not have any formal musical education and those in the academic milieu were, in their turn, neither jazz performers nor jazz composers. With the evolution of the jazz genre and its penetration in the field of the concerto, jazz becomes a credible music and starts enjoying a well-defined and generally accepted value rank in its own right, to the point where classic music performers and composers become open to experimenting fusion with jazz. Piano concertos were initially timid in approaching such fusion and consisted of taking over and stylising some jazz-specific components and integrating them into their own piano concerto language. In the second half of the twentieth century, piano concertos capitalising on this stylistic mix grow more and more natural and elaborate, turning into a field for expression of the most diverse jazz / academic music fusion. The fundamental driver that prompted the growth in value of the piano concertos that were approaching the jazz-classic music fusion proved to be the gradual familiarisation of classical music composers with the two stylistic directions through their experience as performers or through their academic music education. This article provides a brief overview of the pluralistic approach of the piano concerto genre at the intersection between jazz and academic music creation in the second half of the twentieth century and in the early twenty-first century.
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Newsom, Jon, and Martin Williams. "Jazz Piano: A Smithsonian Collection." American Music 10, no. 2 (1992): 223. http://dx.doi.org/10.2307/3051728.

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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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Jefferson, Meriel. "Fingers and Thumbs Books 1–3 by John York. Boosey and Hawkes, 1993, £3.50 each. - Play Boogie Duets, Boogie Duets for Beginners by Daryl Runswick. Faber Music, 1993. £4.95 each. - Let's all Play the Ollie Way! by Alison Hedger. Chester Music. 1992. £5.95; cassette, £4.95. - Mikrokosmos Volume 1 by Bela Bartok. Boosey and Hawkes, 1987. Book and CDROM, £12.95. - Abracadabra Piano Books 1–3 arranged by Jane Sebba. A. and C. Black, 1993. £3.99 each. - The Piano Duet Collection edited by Alan Ridout. Kevin Mayhew, 1992. £6.95. - Jazzy Duets by Mike Cornick. Universal Edition. - Blue Piano by Mike Cornick Universal Edition, £3.95." British Journal of Music Education 11, no. 3 (November 1994): 255–57. http://dx.doi.org/10.1017/s0265051700002254.

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Sachkova, T. V. "Features of teaching piano in pop-jazz style." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 135–38. http://dx.doi.org/10.30725/2619-0303-2020-3-135-138.

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Russian music school has undergone major changes over the past 20–30 years. The emergence of mass musical styles and genres and their huge popularity, the opening of pop and jazz faculties and training areas, as well as private music schools and studios – all this aff ects the approaches to teaching piano in modern preprofessional music education. The approaches to the development of performing piano skills described in this article include not only traditional methods of studying the academic piano repertoire, but also methods of development in pop and jazz stylistics, using which one can achieve both improved fluency and the development of new sound skills.
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Mikadze, Tamar. "Vakhtang Kakhidze’s Creative Work in the Context of the Relation Between Jazz and Academic Music." Kadmos 11 (2019): 55–85. http://dx.doi.org/10.32859/kadmos/11/55-85.

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Twentieth-century art is characterized by its striving for synthesis, which gave rise to a number of new styles and genres. The creative mutual influence of jazz and academic music is one of the brightest manifestations of this process. Jazz has greatly influenced classical music, and academic music, in turn, has determined important paths for the development of jazz. This issue has not been studied in Georgian musicology to date. As an example of this process, the article discusses Vakhtang Kakhidze’s creative work, with a focus on his concerto for piano and symphony orchestra, and “Bruderschaft” for viola, piano and string orchestra. Areas of research include: the application of jazz musical-linguistic resources and adaptation of its individual elements as a means for updating traditional musical language; imitation of jazz sounds with traditional classical instruments – “coloration” in jazz style; and the structural integration of jazz expressive techniques and classical music. In Vakhtang Kakhidze’s creative work, jazz is a model for stylization, an artistic face of the epoch, a means of expression, a principle of thought, and a symbol of identity. Ethno jazz is one of the means for the identification and self-expression of his “I” as a composer. The discussed works reveal the result of Vakhtang Kakhidze's compositional quest, closely related to the idea of the synthesis of jazz and academic art. Stylistic features of jazz art, improvisation as a principle of thinking, solid compositional genres of academic music, classical forms and peculiarities of Georgian folk music organically coexist in both of these examples of the composer’s academic music. It is concluded that among Georgian composers of the 1980s, Vakhtang Kakhidze’s works most clearly reflect the synthesis of European compositional technique and jazz traditions.
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Bugos, Jennifer A., Ayo Gbadamosi, Denis Laesker, Ricky Chow, Sofia Sirocchi, Martin Norgaard, Jazmin Ghent, and Claude Alain. "Jazz Piano Training Modulates Neural Oscillations and Executive Functions in Older Adults." Music Perception: An Interdisciplinary Journal 41, no. 5 (June 1, 2024): 378–92. http://dx.doi.org/10.1525/mp.2024.41.5.378.

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Musical improvisation is one of the most complex forms of creative behavior, often associated with increased executive functions. However, most traditional piano programs do not include improvisation skills. This research examined the effects of music improvisation in a novel jazz piano training intervention on executive functions and neural oscillatory activity in healthy older adults. Forty adults were recruited and randomly assigned to either jazz piano training (n = 20, 10 females) or a control group (n = 20, 13 females). The jazz piano training program included aural skills, basic technique, improvisation, and repertoire with 30 hours of training over 10 days. All participants at pre- and post-testing completed a battery of standardized cognitive measures (i.e., processing speed, inhibition, verbal fluency), and neurophysiological data was recorded during resting state and a musical improvisation task using electroencephalography (EEG). Results showed significantly enhanced processing speed and inhibition performance for those who received jazz piano training as compared to controls. EEG data revealed changes in frontal theta power during improvisation in the training group compared to controls. Learning to improvise may contribute to cognitive performance.
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Dissertations / Theses on the topic "Piano music (Jazz), Arranged"

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Ringe, Gerald. "The Historical Importance and Resulting Arrangement of Artie Shaw's Third Stream Composition Interlude in B-flat." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862739/.

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Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experience beyond their abilities, namely improvisation. Second, the instrumentation, string quartet plus jazz combo, is atypical, making it difficult to program. Third, jazz and classical educational worlds do not necessarily overlap or interact, and neither has taken ownership of this Third Stream composition. Lastly, manuscripts, recordings, and other materials for Interlude in B-flat are limited and not readily available. Because Artie Shaw is not only a significant American clarinetist but also an important composer within the Third Stream narrative, Interlude in B-flat should be known and performed. This project aimed to promote the understanding and accessibility of this important and unknown composition to the classical clarinet world by providing an accessible arrangement of the work for clarinet and piano.
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Larsen, Janeen Jess. "Teaching basic jazz piano skills to classically-trained adult pianists a mastery learning approach /." Gainesville, FL, 1986. http://www.archive.org/details/teachingbasicjaz00lars.

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

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
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Roothaan, John P. E. "Perspectives on teaching jazz piano "comping" in the college music program with sample instructional units." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164926.

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The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping.
School of Music
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Lynch, Evan Thomas. "Three Danzas by Puerto Rican Clarinetist/Composer Juan Rios Ovalle Arranged for Clarinet and Piano." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259610054858.

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Frieling, Randall Jay. "A guide to transcriptions and arrangements for two pianos." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019473.

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A Guide to Transcriptions and Arrangements for Two Pianos was designed as a reference tool for the pianist and duo-pianist. 1378 entries are catalogued in this dissertation. Each entry contains information from the following list: Composer name; Birth and death dates; Country; Title of work; Date arrangement written; Publisher; Publisher identification number; Date of publication; Arranger name; Number of pages; Length in minutes; Library or source where found; Origin of work; Editor; Comments and level of difficulty.The writer read music for the research of this dissertation at number of libraries including the Library of Congress. Additionally, an original questionnaire was sent to 393 pianists who are listed as Master Teacher or College Faculty in the 1995 Directory of Nationally Certified Teachers of Music. The results are printed from the 219 replies.
School of Music
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Tengholm, Johan. "Fågeljazz." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3622.

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In this thesis I have examined different bird calls by transcribing them and incorporating them into my music. The incorporation included the writing of three compositions based on the transcriptions and the use of elements derived from the bird calls in my improvisations. The music was performed by an ensemble consisting of eight musicians, including myself, at a concert the 2nd of March 2020. In the first chapter, the purpose of this work is explained, the reader is given insight into how the idea of the project came into being and is being presented to how bird calls have been used earlier in the history of music. In the second chapter, I explain how I transcribed the birds, how I wrote the music, how I worked with improvisation and how the concert was set up. In the third chapter, the thoughts that aroused during the project are discussed and finally, in the fourth chapter, I summarise the experiences I have gained, and how I am going to continue to work in the wake of those.

Sofia Svensson – sång

Sebastian Jonsson – sopransaxofon och tvärflöjt

Oskar Forsberg – fagott

Daniel Gahrton – basklarinett

Linnea Jonsson – trumpet

Anna Gréta Sigurðardóttir – piano

Johan Tengholm – kontrabas

Magnus Jonasson – trummor

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Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.
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Lilley, Andrew. "The jazz piano style : a comparative study of bebop, post-bebop and modern players." Doctoral thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/9262.

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Includes bibliographical references.
The study embraces a need to document the jazz piano style through analytical representation of key players in the jazz tradition. While there are several educational books outlining method, there is little material discussing jazz style in the context of influential piano players. Educator and author, David Baker, has undertaken to introduce several books from this perspective for some of the more influential horn players (Baker 1982). A search for the jazz style of Bud Powell, Thelonius Monk or Horace Silver, however, will reveal little material and where available this constitutes mostly short biographical information often occupying less than a paragraph within a chapter of historical context. Thomas Owens, for example, discusses the bebop style in 'Bebop, The Music and the Players' (Owens, 1995). He mentions most of the key players for each instrument and discusses their respective stylistic traits. The work is very informative from an overall perspective but serves only to introduce a broad understanding of the players listed. There is very little in-depth analytical discussion or comparative study on style. The subject base is too large for this kind of detail.
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Mateus, Abelita. "The influences contributing to the "samba jazz feel" of Cesar Camargo Mariano's piano trio style." Thesis, The William Paterson University of New Jersey, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1567589.

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This thesis connects the influence of Erroll Garner, George Shearing, Oscar Peterson and Nat King Cole to the establishment of Cesar Camargo Mariano's musical style in a trio setting. It shows that Mariano's piano trio playing created a new feel categorized by this author as "samba jazz feel," which was derived from the fusion of the rhythmic basis of samba with some rhythmic aspects of jazz. To show this, the author uses musical analysis along with qualitative interview data drawn from an exclusive interview with Mariano and from his memoir. Historical aspects of the development of both samba and the swing rhythmic traditions are discussed, as well as historical background on the development of the American and Brazilian music industries. The author claims that while the basis of Cesar Camargo Mariano's musical concept are the samba and bossa nova, jazz stylings greatly influenced the establishment of his musical style, mainly his piano trio style, which is one of the most important representatives of the samba jazz feel.

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Books on the topic "Piano music (Jazz), Arranged"

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1898-1937, Gershwin George, ed. Jazz piano solos: George Gershwin. Milwaukee, WI: Hal Leonard, 2013.

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Mantooth, Frank. Voicings for jazz keyboard: A comprehensive approach to contemporary keyboard voicings for the performer, arranger, teacher, jazz theorist. Winona, MN: Hal Leonard Pub. Corp., 1986.

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Arthur, Honegger. Piano album. Paris: Salabert, 1989.

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(Creator), Hal Leonard Corp, ed. Memorable Jazz Standards. Hal Leonard Corporation, 2001.

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Hal Leonard Publishing Corporation (COR). Jazz Blues: Jazz Piano Solos Series. Hal Leonard Corporation, 2003.

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Hal Leonard Publishing Corporation (COR). Jazz and Blues. Hal Leonard, 1999.

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Edstrom, Brent. Jazz piano solos: Bebop classics. 2018.

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Monk, Thelonious. Jazz piano solos: Thelonious Monk. 2017.

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Edstrom, Brent, and Dave Brubeck. Jazz piano solos: Dave Brubeck. 2017.

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1926-1967, Coltrane John, ed. Jazz piano solos: John Coltrane. Hal Leonard, 2013.

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Book chapters on the topic "Piano music (Jazz), Arranged"

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McCutchan, Ann. "Michael Daugherty." In The Muse that Sings, 173–80. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0018.

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Abstract Michael Daugherty finds much of his inspiration in American pop culture; one has only to glance at the titles in his catalogue to see the “connections. Metropolis Symphony (based on Superman) and Elvis Everywhere (for string quartet and tape) are prime examples, as is Daugherty’s opera Jackie 0, commissioned by the Houston Grand Opera and described at its1997 premiere as “a window on American celebrity culture of the 1960s, ‘70s, and ‘sos:’ Daugherty was born in Cedar Rapids, Iowa. As a boy he studied classical piano, played percussion in a drum and bugle corps, and formed a funk band with his four younger brothers. He attended North Texas State University and the Manhattan School of Music and spent a year in Paris studying at IRCAM (Institut de Recherche et de Coordination Acoustique/Musique, France’s institute for musical research). He also studied with jazz arranger and composer Gil Evans, with Gyorgy Ligeti, and with Earle Brown, Jacob Druckman, Bernard Rands, and Roger Reynolds at Yale, where he earned a doctorate.
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"JAZZ AND LIGHT-MUSIC PIANISTS." In Women and the Piano, 181–200. Yale University Press, 2024. http://dx.doi.org/10.2307/jj.13110761.9.

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"JAZZ AND LIGHT-MUSIC PIANISTS." In Women and the Piano, 181–200. Yale University Press, 2024. http://dx.doi.org/10.12987/9780300277760-007.

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Priestley, Brian. "Ragtime, blues, jazz and popular music." In The Cambridge Companion to the Piano, 209–24. Cambridge University Press, 1998. http://dx.doi.org/10.1017/ccol9780521474702.014.

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Crow, Bill. "Beginnings." In Jazz Anecdotes, 23–29. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195187953.003.0003.

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Abstract Employment for jazz musicians developed wherever there was a demand for festive music. In the early 1900s the black and creole neighborhoods in New Orleans were especially fertile places since music was an important part of community activity there. Sidney Bechet contradicts the myth of Storyville as the cradle of jazz. People have got an idea that the music started in whorehouses. Well, there was a district there, you know, and the houses in it, they’d all have someone playing a guitar or a mandolin, or a piano someone singing, maybe; but they didn’t have orchestras, and the musicianers never played regular there. The musicianers would go to those houses just whenever they didn’t have a regular engagement, when there was no party or picnic or ball to play at. But in those days there was always some party going, some fish fry, and there was always some picnic around the lakes.
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Royal Stokes, W. "California." In The Jazz Scene, 101–28. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195054095.003.0006.

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Abstract If New York has for half a century been the jazz mecca, Los Angeles must today be regarded as the music’s most flourishing province. One close observer of the jazz scene there counted, in the late 1980s, some eighty active jazz venues in the Los Angeles area, conceding that this total included piano bars, weekend-only live music, and some groups of questionable jazz credentials, and asked if New York could top this.
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Whiting, Steven Moore. "Satie’s Humoristic Works for Piano." In Satie the Bohemian, 354–416. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198164586.003.0015.

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Abstract Satie’s twenty years in the cabarets of Montmartre had acquainted him with a wide range of satirical techniques. At the present juncture, his years of collaboration with Vincent Hyspa bore unexpected fruit in the venue of the concert hall. We have seen that Hyspa was best known for his parody of familiar music: airs from opera and operetta, military songs, children’s songs, folk-songs, and so forth, all of which he arranged (or deranged) to suit his satirical purposes.
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Williams, Martin. "Mr. Wilson." In Jazz In Its Time, 41–42. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195069044.003.0010.

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Abstract Teddy Wilson can operate on two levels at once. To the casual listener his must sound like the pleasantest kind of unobtrusive doodling background piano. But, as in some of Mozart’s “cafe” music or in Faulkner’s Saturday Evening Post stories or in Shakespeare, there is a lot else being said than may show on the surface.
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Crow, Bill. "Eddie Condon." In Jazz Anecdotes, 259–65. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195187953.003.0029.

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Abstract Eddie Condon was one of the group of young musicians who developed what became known as the Chicago style of jazz. In addition to playing banjo and guitar, he became an organizer of record dates, producer of jazz concerts, and a saloonkeeper. His two main interests in life besides his family were to hang around the music he loved and to stay loaded. He had a quick wit and a ready tongue. When asked what he thought of jazz as an art form, he was disdainful: “Canning peaches is an art form!” Condon was at a party where a phonograph was playing an Eddy Duchin record. One of the guests said, “Don’t you adore Eddy Duchin, Mr. Condon? He really makes the piano talk, doesn’t he?” Condon said, “He certainly does.
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Royal Stokes, W. "New York." In The Jazz Scene, 48–64. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195054095.003.0004.

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Abstract Syncopated dance music was being played in New York from around the turn of the century by local orchestras, and ragtime piano was evolving into an idiom there that would later be dubbed Harlem Stride. By 1915 a black New Orleans band, Freddie Keppard’s Original Creole Orchestra, was visiting New Yark on the vaudeville circuit and in 1917 the white Original Dixieland Jazz Band, also from New Orleans, was booked into Reisenweber’s restaurant on Columbus Circle. The ODJB, a quintet, created a sensation and the combo was the first to record the sounds of jazz, which they did soon after their New York debut.
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Conference papers on the topic "Piano music (Jazz), Arranged"

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Cazac, Radu. "Sound aspects in Sonata no. 1 for clarinet and piano by Oleg Negruţa." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.11.

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The author proposes to study some structural elements of the sound discourse, as well as their manifestation in the ideation of Sonata no.1 for clarinet and piano by Oleg Negruţa. The fact that this creation is written under the influence of jazz music and style is mentioned by the composer himself in the preface to the work – Sonata in Jazz Style. Following the detailed analysis of the first part, it can be observed that the element (language) of jazz is used to the maximum. Typical intonations as jumps, ornaments, trills, sonorous slides, delayed sounds, but also the genuistic sphere are used to the full: the swing dance, although it is the author's music, without resorting to citation, yet its melody corresponds to metrical patterns, rhythmic and expressive of the jazz style. Equally ingenious are the harmonies specific to African-American music – altered chords, unresolved seventh chords, arpeggios, sound overlaps, etc. As is natural, the improvisational manner has a massive presence in the work, which persists in the illustration of the basic themes.
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Roman, Iulia. "Interpretive vision on the work habanera for violin and piano by the romanian composer Dumitru Capoianu." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.06.

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The composer Dumitru Capoianu is part of the romanian composers who have given valuable works to contemporary music. His creation includes theater music, film music, symphonic music, vocal-symphonic music, choral music, chamber music. Habanera for violin and piano is the work that belongs to the genre of instrumental miniature, a composition in which the elements of jazz café concert blend harmoniously with passages of virtuosity.
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Tcacenco, Victoria. "Genres of jazz origin in moldovan music from the first half of the 20th century: Ragtime by Ștefan Neaga." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.02.

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This article represents the first attempt in national and world musicology to introduce into the scientific circuit the piano piece named Ragtime written by the classic of the Moldovan national school of composition Ştefan Neaga in 1935. The author analyzes some aesthetic and stylistic features of this genre of early jazz reflected in Ş. Neaga’s opus, using the tools of comparative analyses. As for the material for comparison, collections written by the classic of ragtime music, the American composer Scott Joplin, have been studied. At the same time, a non-traditional treatment of the typical genre features has been identified, revealing Şt. Neaga’s individual approach.
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