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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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MAXILE, HORACE J. "Implication, Quotation, and Coltrane in Selected Works By David N. Baker." Journal of the Society for American Music 7, no. 2 (May 2013): 147–64. http://dx.doi.org/10.1017/s1752196313000059.
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AbstractThis article explores composer David N. Baker's use of elements of jazz and vernacular music to articulate formal structures and suggest extramusical commentaries in his concert works, with particular focus on the Sonata for Cello and Piano and the Sonata I for Piano. Themes of homage to and respect for jazz saxophonist John Coltrane resonate through these works. Various features bring the jazz legend to mind, but Baker's compelling play with implication and quotation provides fertile ground for studying musical signification and the use of vernacular emblems within Western compositional structures and the concert music of African American composers. Conventional analytical methods are combined with readings of referential symbols to work toward interpretations that address both structural and expressive domains. This approach allows discussions of compositional techniques to intersect with cultural and philosophical considerations. By addressing issues of musical structure and expressivity, this article seeks to move beyond commonplace surface-level descriptions of black vernacular emblems in the concert music of African American composers.
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Early, Gerald. "Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s." Daedalus 148, no. 2 (April 2019): 67–82. http://dx.doi.org/10.1162/daed_a_01743.
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In the 1970s, pianist Keith Jarrett emerged as a major albeit controversial innovator in jazz. He succeeded in making completely improvised solo piano music not only critically acclaimed as afresh way of blending classical and jazz styles but also popular, particularly with young audiences. This essay examines the moment when Jarrett became an international star, the musical and social circumstances of jazz music immediately before his arrival and how he largely unconsciously exploited those circumstances to make his success possible, and what his accomplishments meant during the 1970s for jazz audiences and for American society at large.
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Garipova, Ninel F. "THE PIANO WORK OF R. KHASANOV IN THE CONTEXT OF THE STYLISTIC TRENDS IN MUSICAL ART OF THE SECOND HALF OF THE XXTH CENTURY." Arts education and science 1, no. 34 (2023): 96–102. http://dx.doi.org/10.36871/hon.202301096.
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The article is devoted to a significant date — the 75th anniversary of the birth of the famous Bashkir composer Rim Khasanov, whose piano work has long remained outside the scope of musicological analysis. The composer's work in the field of piano music coincided with the time of changes in the country's musical art, reflected in a new attitude to folklore. During these years, the composer's thinking was shifting towards mastering deeper layers of folklore sources, which was facilitated by the formation of a new view of the surrounding world, leading to a special approach to the selection of means capable of adequately reflecting modern problems of being. In addition, the XXth century opened up the aesthetics of jazz to the music of Europe and Asia, as well as the inclusion of folklore material into the context of European and jazz traditions. The process of penetrating innovative compositional means in the works of Bashkir composers took place with due regard for national specifics. For the piano art of Bashkiria of the second half of the XXth century, the interest in jazz stylistics was quite natural. This interest was most clearly manifested in R. Khasanov's "Concertino for Piano and Orchestra", which for the first time synthesized Bashkir intonation vocabulary and classical foundations of form construction with specific features of jazz aesthetics. At the same time, the works of the 1970s – 80s expressed a desire to bring the musical language closer to the intonations of the human voice. This trend was reflected in the piano cycle "Temperaments" by R. Khasanov. The works created by the composer in the second half of the last century reflected the stylistic tendencies of the era and were at the forefront of the development of Bashkir piano art of those years.
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Kim, Soo Jin, and Eu Jeong Zhang. "Jazz Elements in the Music of 20th Century Soviet Composer Kapustin - Focusing on “Piano Concerto No. 2 Op. 14”." Korean Association for the Study of Popular Music 32 (November 30, 2023): 35–72. http://dx.doi.org/10.36775/kjpm.2023.32.35.
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Amid changes in world politics and the chaos of musical culture in the 20th century, the need for research on the fusion of classical music and jazz emerged. Therefore, this study reveals the characteristics that the jazz elements in “Kapustin’s Piano Concerto No. 2 Op. 14” (Concerto) combined with classical music to contribute to the evolution of modern music. Analysis of various aspects such as musical form, tempo, rhythm, melody, harmony, and instrumentation based on the orchestral score revealed that Kapustin’s Concerto exhibited musical diversity and innovation through the fusion of classical music and jazz, and was a work that went beyond the boundaries of tradition and experiment. Kapustin developed a unique musical style by incorporating jazz elements into classical music and demonstrated the potential of the third stream. Kapustin’s musical fusion was clearly revealed as a new trend in modern music in which various musical elements interacted. These results can help find and create new works by promoting the popularization of classical music and innovation of popular music.
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Siti Nur Hajarul Aswad Shakeeb Arsalaan Bajunid and Rizal Ezuan Zulkifly Tony. "SCORE MODIFICATION OF FAZIL SAY PIANO PERFORMANCE: ALLA TURCA JAZZ OP.5B." Jurnal Gendang Alam (GA) 12, no. 1 (June 30, 2022): 169–76. http://dx.doi.org/10.51200/ga.v12i1.3834.
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The Alla Turca Jazz op.5b for piano solo is creative research in music performance. This study aims to examine unwritten Fazil Say’s embellishments of ornamentation, melodic and rhythmic phrases. The unwritten notations have developed since the seventeenth century of performance practice among keyboardists. However, the performance practice continuously occurs in the twenty-first-century performance although it is a complete notation. The Alla Turca Jazz op.5b was written and performed by Fazil Say throughout his performances globally with a dissimilar interpretation of embellishments. His unwritten embellishments contribute to the modification of the scores in contemporary piano works.
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Setiawan, Erick, and Erfan Erfan. "METODE PEMBELAJARAN PIANO DI PURWACARAKA MUSIK STUDIO PADANG." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 89. http://dx.doi.org/10.24036/jsu.v9i1.109555.
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This study aims to describe how the piano learning methodsare used in Purwacara Music Studio Padang. It is seen in terms of objective, material, method, and evaluation. This research used a Qualitative approach which produced descriptive data about Piano Instruction in Purwacara Music Studio Padang.T he data were collected through observation, interview, documentation, and interactive data analysis consisting of data reduction, data presentation, and conclusion drawing. The results show that the piano learning process in Purwacara Music Studio is in accordance with the determined curriculum whose learning objective is students are able to play piano in right fingeringand sitting attitude. In the learning process, the methods implemented are lecture method, questions and answers, demonstration, drill, and assignment. Meanwhile, thelearning materialsare divided into two materials: music theory and music practice. In addition, evaluation is always held in every course meeting, and final evaluation as well as a test for improvement levelis held every 6 months. To get more tangible and use fulbenefits, based onthe results of research and discussion about piano instruction in Purwacara Music Studio, forming a special team for designing piano learning materials in an guidebook is a suggestion the writer gives. This is due to the fact that available materials are not neatly arranged in a guidebook. Thus, the existence of the arranged materials in a guidebook can further enhance the process of learning.Keywords: method, learning, piano
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Edwards, Drew, Simon Dixon, and Emmanouil Benetos. "PiJAMA: Piano Jazz with Automatic MIDI Annotations." Transactions of the International Society for Music Information Retrieval 6, no. 1 (2023): 89–102. http://dx.doi.org/10.5334/tismir.162.
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Voropaieva, Olena. "The logic of forming a musical text in a solo piano-jazz improvisation by M. Petrucciani on the theme of T. Monk’s “’Round Midnight”." Aspects of Historical Musicology 32, no. 32 (November 15, 2023): 134–53. http://dx.doi.org/10.34064/khnum2-32.08.
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Statement of the problem. Due to the natural tendency to constant renewal, the phenomena that arise in the field of jazz music-making, cause special scientific interest. The jazz art of the second half of the 20th century is represented by numerous names of bright musicians who formed the latest approaches to improvisational art in their creativity. One of such musicians was an unique pianist of Italian-French origin – Michel Petrucciani (1962–1999). The study of his heritage provides opportunities to reveal some aspects of modern jazz art, which are genetically related to the embodiment of the traditions of Western European music-making in piano jazz, and also to mark the vectors of its further evolution. Nevertheless, M. Petrucciani’s solo piano creativity is not studied for a present time. Some English-, French- and German-language articles, films and interviews with the musician are represented, mainly in online-resources. These works have mostly biographical direction and contain brief information about pianist’s aesthetic views and preferences, his creative achievements, and the state of his health, since the artist suffered from a rare congenital disease all his life. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the structural and compositional logic of jazz improvisation on the popular theme of T. Monk’s “’Round Midnight” interpreted by M. Petrucciani, in the context of solo piano creativity of the latter. The solo piano work of M. Petrucciani, who without exaggeration can be called one of the outstanding musicians of the last century, has not yet been subject to scientific analysis in domestic musicology, which determines the innovative focus of this study. A set of research approaches – historical-genetic, comparative, hermeneutic, traditional methods of musicological analysis – contributed to the disclosure of the chosen topic. Research results and conclusion. In the course of the research, genetic, genre, structural, intonation, rhythmic, textural and other features inherent in the theme “’Round Midnight” were revealed in the context of compositional and piano-improvisational style of T. Monk – a progressive musician-innovator, one of the inspirations of the bebop style, as well as a conclusion about the features of individual interpreting the theme by M. Petrucciani was justified. M. Petrucciani in the improvisation on T. Monk’s “’Round Midnight” theme demonstrates self-own unique bright improvisational style, talentedly combining virtuosity with intonation meaningfulness and accuracy of phrases, with expressiveness of a musical statement that has a philosophical undertone, and the academic traditions of music-making, learned during his studies, with American and Western European jazz ones. The variety of methods of melodic-harmonic, textural, dynamic development used by the pianist testify not only to the musician’s desire to demonstrate virtuoso mastery of the instrument, but also contribute to the realization of the unique concept of the work.
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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.
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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for the creation of this study was the desire to increase interest in the work of Gershwin as a “serious” composer and to draw the attention of domestic academic pianists to the value of his piano works, presented not only the “Rhapsody in Blue”, which has been mostly played lately. The purpose of our research is to prove the relevance of the performance of Gershwin’s instrumental works in the academic concert environment as the music of the classical tradition, tracing the formation of specific features of the composer’s instrumental creativity and their reflection in the cycle of “Three Preludes for Piano” in 1926. Studies of the life and work of G. Gershwin, illuminating a special path in music and the unusual genius of an outstanding musician, were created mainly in the 50–70s of the XX century. D. Ewen – the author of the most detailed biography of the composer (first published in 1956, the Russian translation – in 1989) – was personally acquainted with the great musician and his family, took numerous interviews from the composer’s relatives, friends and teachers, had access to his archives (Ewen, 1989: 3–4). The author of the book enters into the details of the life and creative work of the genius and creates a portrait of the composer as a person “in relationships” – as a son, brother, friend. A separate chapter devoted to the music of Gershwin is in the fundamental work of V. Konen (1965) “The Ways of American Music”, an extremely useful study of the folklore origins and musical foundations of jazz. Cognitive is the “popular monograph” by V. Volynskiy (1988) about Gershwin, carefully structured chronologically and thematically. The Internet-pages of A. Tikhomirov (2006–2020) on the resource “Classic Music News.ru” are also very valuable, in particular, thanks to retrospective photographs and audio recordings posted there. From the point of view we have chosen, the piano Preludes by G. Gershwin have not yet been considered by domestic researchers. Research methodology is based on comparative analysis and then synthesizing, generalization and abstraction when using data from biographical literature, and tested musicological approaches when considering musical samples and audio recordings of various versions of the Preludes (including the author’s playing). The results of reseaching. G. Gershwin, despite his Jewish-Slavic family roots (his parents emigrated to America from the Russian Empire at the end of the 19th century), is undoubtedly a representative of American culture. Outstanding artists have almost always turned to the folklore of their country. In Gershwin, this trait manifested itself in a special way, since American folklore, due to historical and political circumstances, is a very motley phenomenon. Indian, English, German, French, Jewish, African, Latin American melodies surrounded Gershwin everywhere. Their rhythms and intonations, compositional schemes were melted, transformed in professional music (Konen, 1965: 231–246). The first musical teacher of Gershwin was the sound atmosphere of New York streets. This is the main reason that the style of his musical works is inextricably linked with jazz: Gershwin did not encounter this purely American phenomenon, he grew up in it. Among the numerous other teachers of Gershwin who significantly influenced on the formation of his music style, one should definitely name the pianist and composer Charles Hambitzer, who introduced his student to the music of Bach, Beethoven, Chopin, Liszt, Debussy, Ravel (Ewen, 1989: 30–32). The most part of Gershwin’s creativity consisted of working on musicals, a typically American genre. The work with the musicals gave the composer the basis for writing his first jazz opera “Blue Monday“, 1922 (other name – “135th Street”), which became the predecessor of the famous pearl of the new genre, “Porgy and Bess” (1935). Following the production of “Blue Monday”, Gershwin began collaborating with the Paul Whiteman Orchestra, who was impressed by the piece. On the initiative of the latter, Gershwin created his masterpiece, “Rhapsody in Blue” (1924), which still remains a unique musical phenomenon, since the composer brought jazz to the big stage, giving it the status of professional music (Ewen, 1989: 79–85; Volynskiy, 1988: part 4). V. Konen (1965: 264–265) believes that Gershwin is a representative of symphonic Europeanized jazz, since he uses it in musical forms and genres of the European tradition. However, we cannot agree that Gershwin “used” jazz. For him, jazz was organic, inseparable from the author’s style, and this is what makes his music so attractive to representatives of both classical and pop traditions. For Gershwin, due to life circumstances, turning to jazz is not an attempt at stylization, but a natural way of expression. “Three Preludes for Piano” are significant in the composer’s work, because it is the only known concertо work for solo piano published during his lifetime. At first, Gershwin planned to create a cycle of 24 Preludes, but only seven were created in the manuscript, then the author reduced the number of works to five. A year after the creation of the Piano Concerto, in 1926, Gershwin presented this new opus. The pieces performed by the author himself sound impeccably technically and even austerely-strictly (audio recording has been preserved, see ‘Gershvin plays Gershvin 3 Preludes’, video on You Tube, published on 2 Aug. 2011). It can be noted that Gershwin is close to the European pianistic style with its attention to the accuracy of each note. The cycle is built on the principle of contrasting comparison: the first and third Preludes are performed at a fast pace, the second – at a slow pace (blues-like). The analysis of the cycle, carried out by the author of the article, proves that “Three Preludes” for piano reflect the main features of Gershwin’s creative manner: capriciousness of syncopated rhythms, subtle modulation play, improvisational development. Breathing breadth, volumetric texture, effective highlighting of climaxes bring the cycle closer to the composer’s symphonic works. Jazz themes are laid out at a high professional level, using traditional European notation and terminology. Thus, although Gershwin was a brilliant improviser, he made it possible for both jazz pianists and academic performers to master his works. Conclusions. The peculiarities of Gershwin’s development as an artist determined the combination of the jazz basis of his works with the compositional technique of European academic music. The versatility and musical appeal of the Preludes are the key to their long stage life. Plays are well received both in cycles and singly. Their perception is also improved by the fact that the original musical speech is combined in them with the established forms of academic music. The mastery of the Preludes by pianists stimulates the development of technical skill, acquaints with jazz style, sets interesting rhythmic problems. The pieces are bright and winning for concert performance. Thus, the presence of the composer’s piano pieces and other his instrumental works in the programs of classical concerts seems appropriate, useful and desirable.
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Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.
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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand – the issues of historiography and style formation. However, focusing mainly on the identification of specific methods of using individual elements of the entire complex of music and expressive means of jazz art, scientists are less interested in the study of more «in-depth» issues, such as interpretation in jazz art, form building, semiotic and hermeneuticmethods of jazz music evaluation, musical dramaturgy. The concept of jazzmusic making remains unexplored. In our understanding, the study of musical dramaturgy deserves special attention, because at its level the coordinates of jazz music as a complex improvisation process converge. Objectives. The purpose of the article is to identify and study the main factors that determine the principles of formation of jazz musical dramaturgy at the level of solo piano composition. It is the improvisational nature of the composing and performing arts as well as the absence of a detailed musical notation that indicate the need to study the subject and an attempt to provide its scientific substantiation. Methods. The methodology of the study includes analytical, comparative, systematic and stylistic methods. This methodological basis allows us to identify the principles of jazz musical dramaturgy from the standpoint of piano jazz art, which, in the author’s opinion, gives an opportunity to speak about the peculiarities of organizing a musical text with the texture of different types of arrangement. Results. Over the last decades, jazz, without losing its specificity, has increasingly shown a tendency to interpenetrate with academic musical art, and at the same time become universal. An example of this could be the creative work of the renowned Kharkov jazz pianist Sergey Davydov. Turning to the specifics of the solo improvisational mastery of the pianist, we should distinguish the following important vectors in his work: commitment to the synthesis of jazz and academic traditions, tendency to polyphonize the textual presentation of the musical text, the use of the sonata principles as a consistent processual development of the whole complex of music and artistic ideas. The subject of the analysis offered in this study is a demonstrative example of the arrangement of the musical text of S. Davidov’s solo improvisation, which he demonstrated at the international festival “S. Rakhmaninov and Ukrainian Culturе”, which took place in Kharkiv in 2007 (the analysis was made on the basis of the video footage). The uniqueness of this example is that the pianist in his improvisation synthesized jazz intonation-rhythmic idiom with constructive and creatively inventive correlation of textural and compositional techniques of S. Rachmanino’s pianism. The conducted analysis confirms that S. Davydov, in addition to using the whole arsenal of specific jazz means of organizing sound fabric, adapts in his improvisation texturally-theatrical principles characteristic of S. Rakhmaninov’s work, and not only at the expense of quoting, but and at the intonational level. The factual organization of the composition, in this case, is based on the use of the potential of large and passage techniques, which brings together S. Davydov’s creative concepts with the aesthetics of virtuosity of European pianist composers of the Romantic period. Solo improvisation is analyzed – a kind of musical recital, which lacks the traditional jazz principle of formation based on variational construction, and is dominated by freely interpreted sonatas. Conclusions. Thus, the basic principles of musical dramaturgy formation in jazz art are: the use of specific jazz means of expression, which in the light of textual organization of the musical text realize the emotional and meaningful tension, forming a clear dramatic outline of the whole composition. Conflict, as a multilayered, comprehensive process of choosing an aesthetic position in the climax, reaches a point of dramatic ignition due to specific performance factors: dynamics, agogics, textural-rhythmic combinations. Not only specific performing skills but also energetic translation of the ideological content of the whole composition are involved in this process. In the context of jazz musical dramaturgy, one more important factor, which is fundamental in both solo and ensemble jazz art, is specific communication. However, when compared to academic music, where the listening strategy is interpreted as a «strategy of co-intonation to the sound form» but in jazz culture it is the listener who, at the level of the performer or interpreter, is a direct participant of musical dramaturgy creation. This is expressed by applause at times of intense tension or after the most successful improvisation of one of the ensemble members. Summarizing all the above, on the basis of the analysis we have tried to give our corrections to the concept of «musical dramaturgy in jazz» – is a thematic process of juxtaposition and interaction of elements of jazz language that contains various polystylistic complexes of Western European academic art, directing the energy of communication to the higher artistic unity of a jazz work.
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Park, Jieun, and Yoonhan Jeon. "A Study of Bill Evans’ Use of Appoggiatura and Polychords in the Solo Piano Composition “We Will Meet Again”." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 1145–54. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1145.
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This study analyzes the most prominent manifestations of harmonic expansion and tension in Bill Evans’ harmonic techniques, focusing on appoggiatura and polychords. These two techniques represent Evans’ characteristic harmonic progressions that dramatically induce and resolve tension. While Evans employs numerous other idiosyncratic harmonic techniques, these two serve as cornerstones of all Jazz harmonic development, rooted in his assimilation of classical music into Jazz piano. Appoggiatura elucidates Evans’ method of inducing harmonic tension and resolution through the polyphonic use of non-harmonic tones. Polychord is dissected into two categories: one comprising diatonic scales and the other involving altered scales. The study explores how Evans employed diverse Polychords based on harmonic tension and the flow of the musical piece. Through the analysis of Bill Evans’ solo piano composition “We Will Meet Again”, this research examines how harmonic expansion unfolds in compositional music and elucidates how Evans employed these techniques in his performances to actualize and crystallize his unique harmonies.
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TEMPERLEY, DAVID. "Communicative Pressure and the Evolution of Musical Styles." Music Perception 21, no. 3 (2004): 313–37. http://dx.doi.org/10.1525/mp.2004.21.3.313.
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Music functions, at least in part, to convey certain structures to the listener via a surface of notes. For communication to occur successfully, the structures must be recoverable from the surface. I argue that this consideration has been an important factor in the shaping of musical styles, and sheds light on a number of phenomena: the greater degree of syncopation and lower degree of rubato in traditional African music and rock versus common-practice music; the extensive use of rubato in pieces with consistent repeated patterns (e.g., much Romantic piano music); the rise of swing tempo and the higher degree of syncopation in jazz as opposed to ragtime; and the greater variety of chord-tones and lower tolerance for chordal inversion in jazz as opposed to common-practice music.
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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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POLYANSKY, Vyacheslav. "PIANO JAZZ PERFORMANCE AND MUSIC OF ACADEMIC TRADITION: A NEW SYNTHESIS." Humanities science current issues 2, no. 52 (2022): 100–105. http://dx.doi.org/10.24919/2308-4863/52-2-14.
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Ginocchio, John. "The Effects of Different Amounts and Types of Music Training on Music Style Preference." Bulletin of the Council for Research in Music Education, no. 182 (October 1, 2009): 7–18. http://dx.doi.org/10.2307/27861458.
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Abstract The purpose of this study was to determine the influence of three different amounts of music training and specific types of music training on the style preferences of college non-music majors. 176 college non-music majors recorded their preference for 19 musical examples in varying popular and non-popular styles. Subjects completed a Personal Information Form to determine their years of music training and specific types of music training. Results showed that subjects with five years or more of music training gave significantly greater overall music preference ratings than subjects with fewer years of training. Differences were also found between subjects with three differing amounts of training for instrumental jazz, orchestral classical, vocal classical, and classical piano music. Responses showed differences in preference ratings between subjects who had been in choir, band, and piano lessons. Participation in band appeared to have the greatest impact on preference for non-popular styles of music.
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Sheludiakova, Svitlana. "The genre of the piano concerto in John Adams’s work on the example of “Must the Devil Have All the Good Tunes?”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (April 29, 2024): 161–84. http://dx.doi.org/10.34064/khnum1-70.09.
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Statement of the problem. The genre of the instrumental concerto is an important part of the famous American composer John Coolidge Adams’s oeuvre. This is evidenced by the popularity of his concertos among performers and the ongoing interest of researchers in them. However, the composer’s piano concertos, especially the Third Concerto titled “Must the Devil Have All the Good Tunes?”, remains largely unexplored, which prevents the elucidation of the principles of interpreting the genre. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the genre and stylistic interaction in J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”. For the first time the genre, stylistic, structural and dramaturgical features of this composition become the subject of analysis. The methods of structural and functional, genre and stylistic , and comparative analysis are used in the study. Research results and conclusion. The analysis of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?” indicates a combination of classical principles with features of minimalism and elements of jazz (ragtime, swing and other) and rock and roll. The classical principles are evident in the three-part structure of the cycle, the use of sonata form in the first movement and variation form in the second, and the orchestration that predominantly adheres to academic traditions. At the same time, there are the features of music poem genre, an openness of forms that appeal to the late-Romantic tradition, alongside with fragmentation inherited in contemporary compositional approaches. These aspects are counterbalanced by timbre dramaturgy, which embodies the idea of continuous development through the gradual addition of new instruments and registers, from the lowest to the highest. Minimalist features are evident in the repetitiveness, the significant role of ostinato rhythms, in the structure of the theme of the second movement, and the use of variation form with the addition of new episode. They also interact with baroque stylistics, as evidenced by the use of short trill-like motifs reminiscent of ornaments found in French harpsichord music. Jazz features are embodied on the genre basis of ragtime, funk, and swing as the extensive use of syncopated formulas, accents, polyrhythmic combination of parts, quasi-improvised elements and the walking bass in the piano part, as well as the ensemble techniques borrowed from jazz-bands. The inclusion in the orchestra the bass guitar and the piano sampler with “Honky Tonk” timbre refers to the rock music, to the ragtime tradition and the honky-tonk bars’ music-making. The programmatic aspect of the Concerto is realized through the stylistic interaction between the Classical embodying tradition, balance, and restraint, and the “diabolical” embodying fearlessness, freedom, and boldness associated in the Concerto with jazz, rock, and pop elements. Therefore, these aspects define the stylistic and dramaturgical uniqueness of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”.
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Eroy, Ozan, Onur Zahal, and Engin Gürpınar. "The effect of polyphonization of Hüseyni maqam melodies within modal jazz harmony and dorian scale on success in piano educationHüseyni makamı içerikli ezgilerin modal caz armonisi ve doryen dizi kapsamında çokseslendirilmesinin piyano eğitiminde başarıya etkisi." Journal of Human Sciences 13, no. 3 (December 16, 2016): 5471. http://dx.doi.org/10.14687/jhs.v13i3.4096.
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This research aims to determine effects of polyphonic performance of Turkish Music melodies containing Hüseyni maqam with modal jazz harmony on undergraduate piano students. Accordingly, “one group pretest-posttest pattern”,one of the weak experimental modals, has been used in the survey. In scope of the research, a piano curriculum based upon the components such as a general information about modal jazz harmony and chord setups has been applied to the students over two studies that are composed with dorian scale and two folk songs performed polyphonically in Hüseyni maqam. The effect of the applied piano curriculum on students’ piano performance has been analysed. As Hüseyni maqam in Turkish Music resembles dorian scale, the studies used for the curriculum have been made based on dorian scale. A six-week curriculum was applied to the students in the process level of the experimental period of the research. The pretest-posttest piano performance success of the students has been analysed by using piano performance rating form prepared pursuant to learned opinion. Wilcoxon Signed Rank Test and r effect size were calculated in the analysis process. As a result of the survey, it has been determined that the piano curriculum based on dorian scale and modal jazz harmony, enhances the piano performance success of the students noteworthily. Moreover, it has also been identified that the influence quantity is in a high level. ÖzetAraştırma ile Türkiye'de lisans düzeyinde piyano eğitimi gören öğrenciler için modal caz armonisi ile çokseslendirilen Hüseyni makamı içerikli Türk müziği ezgilerinin, öğrencilerin piyano performanslarına olan etkisinin belirlenmesi amaçlanmaktadır. Bu doğrultuda, araştırmada zayıf deneysel modellerden "tek grup ön test-son test desen" kullanılmıştır. Araştırma kapsamında, öğrencilere; doryen dizi ile bestelenmiş iki etüt ve çokseslendirilmiş iki hüseyni içerikli türkü üzerinden modal caz armonisine ilişkin genel bilgiler, akor kurulumları vb. öğelere dayanan bir piyano öğretim programı uygulanmıştır. Uygulanan piyano öğretim programının öğrenci piyano performanslarına olan etkisi incelenmiştir. Türk müziğindeki Hüseyni makamı dizisi ile doryen dizi benzerlik gösterdiği için öğretim programında kullanılan etütler, doryen dizi temel alınarak oluşturulmuştur. Araştırmanın deneysel sürecinin işlem evresinde öğrencilere altı haftalık piyano öğretim programı uygulanmıştır. Öğrencilerin öntest-sontest piyano performans başarıları, uzman görüşleri çerçevesinde oluşturulan piyano performans değerlendirme formu uygulanarak incelenmiştir. Analiz işlemlerinde Wilcoxon İşaretli Sıralar testi ve r etki büyüklüğü değerleri hesaplanmıştır. Araştırma sonucunda doryen dizi ile modal caz armonisine dayanan piyano öğretim programının, öğrencilerin piyano performans başarılarını anlamlı düzeyde arttırdığı tespit edilmiştir. Etki büyüklüklerinin ise yüksek düzeyde olduğu belirlenmiştir.
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Bălan, Florin. "Fundamental Analysis of Chick Corea’s Improvisation in Spain (1972)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 99–110. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.07.
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"Modern jazz can be considered an equal part of modern music, owing to the numerous experiments, at times considered strange or not really agreed by the audience. When talking about modern musical life and the possibilities for making music in a proper manner, no doubt that the value and genius of composers like Wolfgang Amadeus Mozart or Ludwig van Beethoven must be recognized. However, one must also realize that modern life, with its modern, contemporary music is also needed. The great jazz saxophonist, Charlie Parker considered improvisation the middle of the earth, the place where, if only for a few brief moments, one can be the best and the greatest composer in the world. Furthermore, the idea of a song (theme) is the only reason for musicians to come and elaborate together, with variational spontaneity, a unique and maybe unrepeatable musical manifestation. The works of Chick Corea reflect this point of view, as the analysis of the work Spain (1972), discussed in the article bellow, will demonstrate. The work represents the fusion between Spanish music and the compositional methods of modern jazz music, reflecting Corea’s unique style. Improvisation lies at the basis of this composition, offering the musician a multitude of possibilities for expressing his ideas regarding freedom and human nature. Keywords: jazz, piano improvisation, spontaneity, creativity, harmonical knowledge, contemporary "
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Тарасова, Н. Ю., and Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 171–85. http://dx.doi.org/10.33287/221914.
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The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmonious, accord-tonal, form-forming means of expressiveness of jazz and music of the twentieth century. Conclusions. The interaction of the jazz language with the academic tradition essentially influenced the renovations of the genre in the suites „1922ˮ by P. Hyndemith and „Suite Sentimentsˮ by Y. Chugunov. Jazz influence has contributed to: 1) individualization of the musical decision of the suite, increase of unique expressiveness (skepticism about dance in Hindemith, rich and dynamic palette of lyrical feelings, with contrast of contemplation and mobility in Chugunov); 2) release of the genre character and structure of the cycle from Baroque-classical genre-structural normativity (in the first work, the dance genres of music of the twentieth century, in the second – different emotional states, become decisive); 3) combining the form of a suite cycle (not a simple sequence of plays based on theestablished tempo principle, but a plastic improvisational transition, with the loss of the boundaries of the parts) (in „Suite of Sentiments” by Chugunov), with a through metro rhythm and internal unification with ironic author overtones expressed by harmonic, textured and rhythmic means (in the Suite „1922ˮ by Hindemith); 4) the formative role of rhythm formulas of jazz music (emphasizing weak parts, syncopation, rhythmic brokenness of melody, triple rhythm formulas and unstable formulas with small rhythmic meters), typical jazz performing techniques (fermat, „hangs”, discontinued melodies) and Latin American music of harmonic means (movement by parallel chords, active use of trio sounds, seventh chords, non-chords with alterations), jazz features of intonation (false fingering); 5) application of compositional features of ragtime, swing (cadences, improvisations, repetitions).
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HAN, ZHANG. "Unique features of the performing style of Ivan Karabyts 24 preludes for piano." CONTEMPORARY ART, no. 18 (November 29, 2022): 277–84. http://dx.doi.org/10.31500/2309-8813.18.2022.269743.
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The article attempts to understand the legacy of Ivan Karabyts from the perspective of modern piano performance, in particular his landmark work 24 Preludes for the Piano with comprehensive analyses of the composer’s creative method, specifics of the artist’s stylistic decisions in the field of piano music, interpretive analysis of the piano cycle 24 Preludes…, which will uncover a wide field for the stage performance of this work and its role in the establishment of the distinctive performance style of Karabyts’ works. That is why cycle 24 Preludes for Piano by Karabyts paints a wide visual and sonic world, which is quite difficult for a pianist to implement. The creative and individualized approach of the pianist should absorb a wide range of figurative and content saturation, often sharply contrasting. For the performer, it remains important to implement the author’s concept of the series’ pieces by focusing on three fundamental artistic layers — folk-musical thinking and folklore genres, stylistic elements of the music of outstanding masters in a retrospective implementation, some features of those styles that exist and develop in parallel with the so-called serious music (jazz, pop music). In addition, the presence of such a diverse foundation determines not only the versatile coverage of the genre content open for the prelude but also the ramification of cross-semantic connections between the parts of the cycle
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Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (October 2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.
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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.
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Busse, Walter Gerard. "Toward Objective Measurement and Evaluation of Jazz Piano Performance Via MIDI-Based Groove Quantize Templates." Music Perception 19, no. 3 (2002): 443–61. http://dx.doi.org/10.1525/mp.2002.19.3.443.
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The purpose of this study was to (a) objectively measure and analyze performance deviations from mechanical regularity for three jazz pianists via MIDI-based "groove quantize" procedures and (b) measure how experts rate musical examples incorporating these deviations as being representative of the swing style. The "groove quantize" software procedure was used to measure performance deviations from mechanical regularity for (a) note placements (timings), (b) note durations (articulations), and (c) note velocities (dynamics) contained in 281 measures from 33 performances by three professional jazz pianists. Differences among the performers and for relationships between the performance variables and tempi were measured. Performance models or "grooves" were developed representative of each performer's style and a general swing style. For comparison, "mechanical" models were constructed on the basis of mathematical ratios. Forty-two judges rated the "swing representativeness" of an unaltered melody from each pianist and seven variations of each, four based on the derived performance models and three based on the mechanical model. Analysis revealed that four derived performance model variations were rated significantly more representative of the swing style than were the mechanical variations. Swing ratings did not differ significantly between an unaltered melody and variations based on individual performance models for two of the performers, suggesting that they were representative grooves.
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Wreede, Katrina, and Karen Ritscher. "Practicing Efficiently—For Teachers." American String Teacher 44, no. 2 (May 1994): 49–51. http://dx.doi.org/10.1177/000313139404400221.
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Katrina Wreede has an active career as a performer, teacher, and composer. Formerly the violist with the Turtle Island String Quartet, she performs with chamber music groups, a viola/piano duo, and a string trio, all of which explore free jazz sensibilities inside the chamber music form. While violist with TISQ, she performed to critical acclaim in more than 40 states and nine countries, appearing in numerous television specials. She teaches both privately and for several youth orchestras and presents workshops on improvisation and composition to children and adults. She also composes in her “Improvisational Chamber Music” style.
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Brett, Thomas. "Polyrhythms, negative space, circuits of meaning: making sense through Dawn of Midi'sDysnomia." Popular Music 36, no. 1 (December 13, 2016): 75–85. http://dx.doi.org/10.1017/s0261143016000684.
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AbstractDysnomiais a 2013 recording by the jazz trio Dawn of Midi scored for acoustic piano, bass and drums. Eschewing jazz chords, improvisation, swing rhythms and theme and variations, the music is instead organised around repeating rhythmic loops and interlocking melo-harmonic fragments, as one groove assemblage segues into the next like an evolving DJ set. The music sounds equal parts minimal process, electronically sequenced and traditional African. This article engages the musical and philosophical concepts at play inDysnomiato think through writing about music via three paths of speculative inquiry. The first part of the article considers works by Kodwo Eshun, Paul Morley and David Sudnow, idiosyncratic thinkers outside of the mainstream of academic music discourse who vividly approach writing about music through defamiliarising language and inventing concepts, generating associations based on comparative listening and describing the dynamics of musical process. In the second part of the article I draw on these writing techniques to direct my repeated listening encounters withDysnomiaand construct a prose interpretation modelled on the polyrhythms of the music. I conclude with a brief discussion of the phenomenological perspective on musical essences and suggest that music is a model for thinking through writing about music.
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Richmond, Sam W., Bruce J. Taub, and Edward Gallardo. "Fragile Lady; Soprano, Contrabass, Piano and Jazz Drum Set (ad libitum)." Notes 44, no. 4 (June 1988): 835. http://dx.doi.org/10.2307/941065.
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Lee, Su Seong. "The Study on the Analysis of Boogie-Woogie Style Repertoires in Piano Method Books." Korean Society of Music Education Technology 57 (October 16, 2023): 245–67. http://dx.doi.org/10.30832/jmes.2023.57.245.
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Boogie-Woogie has influenced popular music, jazz, poetry, art, and classical piano works in various art areas. This study began with the discovery of the author's perspective, who is a piano educator, that Boogie-Woogie is scattered sporadically in each volume in common among the representative piano method books in the United States. It must be meaningful to find and classify only the Boogie-Woogie genre in a comprehensive piano method books composed of vast amounts of music. Furthermore, we tried to analyze the classified Boogie-Woogie to find out their educational implications and their usage. "Piano Adventures" and "Alfred Premier Course", representative American piano method books, were the subjects of this study. First, the fact that Boogie-Woogie influenced various art genres is that it is based on the aesthetic attributes of art given by patterns. Second, furthermore, the attributes of patterns in terms of pedagogy as well as aesthetics are important. Gordon(1927-2015)'s "Pattern learning" demonstrates this. Third, Boogie-Woogie's study can also be expected to provide practical help to piano educators who want to compile piano textbooks in the future. Boogie-Woogie was worth using in the piano method books. In addition to Gordon's "Pattern learning", it was also linked to the concept of Gordon's "Audiation", "Multisensory learning". Fourth, the explanation of the Boogie-Woogie in the piano method books is insufficient. Some Boogie-Woogie pieces were specified as "Boogie" in the title, but many did not. The method of study, related contents such as the dictionary meaning of Boogie-Woogie and the music history and characteristics of the United States will be reviewed in literature. Piano Adventures and Alfred Premier Course were also classified by collecting only sporadic boogie pieces among more than 1,000 pieces. By analyzing the classified pieces, the educational implications, usage, and effectiveness of the Boogie-Woogie genre within the comprehensive piano method books were revealed, and conclusions were drawn.
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Plescan, Irina, and Victoria Tcacenco. "RHAPSODY FOR VIOLIN, CELLO AND PIANO BY COMPOSER LIVIU STIRBU IN THE CONTEXT OF ASSIMILATION OF STYLE AND GENRE PECULIARITIES OF MASS MUSIC CULTURE." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (August 2022): 32–38. http://dx.doi.org/10.55383/amtap.2022.1.06.
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The composition creation of Liviu Stirbu is an example of organic interaction of the idioms of music of European professional tradition, national folklore as well as mass musical culture. The purpose of the authors of this article is to reveal the unique concept of Rhapsody for violin, cello and piano that emerged as a result of the interaction of music of academic tradition, on the one hand, and rock and jazz music, on the other. The influence of academic musical culture is found in using the genre features of scherzo, march and concerto, while the metro-rhythmic aspects of this opus are close to the phenomena of mass musical culture.
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Williams, Lindsey R. "Effect of Music Training and Musical Complexity on Focus of Attention to Melody or Harmony." Journal of Research in Music Education 53, no. 3 (October 2005): 210–21. http://dx.doi.org/10.1177/002242940505300303.
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The purpose of this study was to investigate the relationships between music training and musical complexity and focus of attention to melody or harmony. Participants ( N= 192) were divided into four groups: university jazz majors ( n= 64), other university music majors ( n= 64), high school instrumentalists ( n= 32), and junior high instrumentalists ( n= 32). The musical complexity variable consisted of four levels of melodic complexity and four levels of harmonic complexity each paired for a total of 16 possible combinations all heard by each participant. Each trial consisted of a melodic complexity/harmonic complexity pairing performed by the same performer on jazz piano. Subjects indicated their overall perceived focus of attention for melody or harmony either during or immediately after they listened. A four-factor ANOVA was conducted with two between-subjects factors (order and music-training groups) and two within-subjects factors (melodic complexity and harmonic complexity). Significant differences were found for focus of attention for both melodic complexity and harmonic complexity. Significant interactions occurred between music training and focus of attention. Overall, data showed that as music training increases, so does harmonic focus of attention. March 11, 2005 October 4, 2005
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Heazlewood-Dale, James C. "Scott Joplin in the Overworld: Super Mario's Rag-Inflected Score." Jazz and Culture 6, no. 2 (December 1, 2023): 7–36. http://dx.doi.org/10.5406/25784773.6.2.02.
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Abstract A rolling banjo, walking bass, steel drum, and syncopated piano. What strange music to accompany your trials and tribulations throughout the Mushroom Kingdom. Eclecticism pervades the Mario franchise and manifests in its digital places, the ways players interact within them, and, indeed, the sounds emanating from them. Mario and his jumping adventures have long been in the hearts of players, the minds of scholars, and the ears of ludomusicologists. By engaging with Koji Kondo's scores for early Mario games, this article highlights an overlooked component in the iconic scores of early Super Mario games: ragtime music. Furthermore, this research contributes examples of African American and Latino musical creation and innovation to ludomusicological discourse. I argue that, as a means to connect, contextualize, and enhance Mario's movement with music, composer Koji Kondo draws from ragtime and early jazz styles because of their distinctive rhythmic qualities. His rag-inflected score establishes ragtime as fundamental to early Super Mario soundscapes. While a substantial ludomusicological body of literature focuses on the Western classical tradition in games, jazz-centered research is scarce. This cross-disciplinary research draws on a wide range of scholarly perspectives from jazz studies and ludomusicology, including work by Andrew Schartmann, Edward Berlin, Ingrid Monson, Neil Lerner, David Butler, and Charles Hiroshi Garrett. As game audio is indispensable in facilitating a player's sense of verisimilitude of Mario's imaginative and, at times, nonsensical worlds, an inquiry into how jazz participates in this unique audiovisual relationship is long overdue.
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Grigson, Lionel. "Modern Jazz Piano by Brian Waite. Tunbridge Wells: Spell mount, 1987. £15.95, 128 pp." British Journal of Music Education 5, no. 2 (July 1988): 197–98. http://dx.doi.org/10.1017/s0265051700006562.
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Gajda, Marek. "Role of Music in E. L. Doctorow’s City of God." American & British Studies Annual 15 (December 21, 2022): 116–25. http://dx.doi.org/10.46585/absa.2022.15.2434.
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E. L. Doctorow became world-famous primarily for his novel Ragtime (1975), which references a distinct style of playing the piano that had a profound impact on the development of jazz. Music also plays a principal role in a number of the author’s other works. This paper explores the role of music in one of his later novels, City of God (2000), with a focus on selected scenes in which music is represented. From the viewpoint of different modes of music in literature, namely the thematization of music, the sound layer and the musicalization of fiction, this contribution examines the emotions elicited in the protagonists in the scenes in question, as well as the atmosphere that the music creates or accentuates. It also takes into account which musical instruments are employed, including the symbolic meaning that one of them, the violin, carries. Furthermore, an investigation is presented as to what extent musical elements from other novels by E. L. Doctorow can be found, and in which respects this novel is unique. In City of God, the lyrics of jazz tunes emerge throughout the novel, thus the importance of this motif is discussed in detail along with the attention devoted to other major manifestations of music in this literary work.
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Kupfer, Joseph. "Art and Integrity in The Fabulous Baker Boys." Film and Philosophy 24 (2020): 1–20. http://dx.doi.org/10.5840/filmphil2020242.
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The title of the film by Steve Kloves (1989) refers to the dual-piano, languishing lounge act performed by two brothers. The resurgence and demise of the musical team is brought about by the addition of a sultry, female vocalist--Susie Diamond. Embedded within the story is an exploration of integrity and its augmentation by the virtues of courage and honesty. Integrity marks an individual whose self is a coherent, consistent whole. Important elements of the individual’s personality are mutually supportive rather than being disparate or in conflict. The integrity scrutinized by the film is Jack’s; it involves the younger brother’s inconsistent fidelity to his considerable musical talent. Late in the story we learn that he despises performing the popular musical fare with his brother and that he really wants to be creative, playing jazz. Although Jack is shown playing piano with modulated passion at a jazz club, we infer that he does so infrequently. Jack’s older brother is not in conflict with himself because his talent is suited to playing the bland tunes that are the staple of the act. Jack’s integrity is compromised because his commitment to his art is half-hearted; he cannot make the leap of faith--in himself. He knows that he hates playing the lounge music, is moved by jazz, and has considerable ability. Jack therefore realizes, however vaguely, that he ought to give himself to the music he loves, despite the risks this would entail. The trajectory of the film-story can be viewed as Jack finally summoning the courage to honestly confront his struggle with integrity and deciding to do something about it.
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Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011033.
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Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widely spread in military ensembles. This presentation looks into the factors that stalled the evolution of mainstream wind instruments during the 19th century, such as instrument affordability, practice habits, conservatory education practices, standardization, and cultural identification. While individual instrument makers and musicians continue to develop fundamentally new wind instruments, they no longer exceed experimental status. Instead, widespread innovations now focus on electronic and digital musical instruments.
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Migliaccio, John, and Michael Marcus. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXIX." Innovation in Aging 6, Supplement_1 (November 1, 2022): 404. http://dx.doi.org/10.1093/geroni/igac059.1590.
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Abstract The “ ’Bo Diddley’ Track”; GSA, 2022 Indianapolis, INLIndianapolis has been described as “The Crossroads of America,” with a long history of fostering the music and entrepreneurial spirit of Black Americans. Starting in 1915 with Mrs. C.J. Walker, America’s first female millionaire and her cosmetic enterprise, and the Starr Piano Company and its Gennett Records Studio – identified as “The Cradle of Recorded Jazz” in the 1920s and 30s – both were instrumental in national distribution of the works of the earliest blues, jazz, country, and gospel artists including Louis Armstrong, King Oliver, Alberta Hunter, and Charlie Patton among others.Indianapolis continues to host a thriving Blues music community, and will host the 29th consecutive year of GSA’s “Bo Diddley Track” with local older minority musicians, one of GSA’s most popular and fun events. This year will feature a lecture, interview, and mini-performance with leading local blues musicians exploring their life, influences, music and resilience, followed by a typically raucous live blues performance that evening at a local blues hot-spot, with prizes for the first 50 GSA attendees. This has been going on for 29 years for a reason, folks---don’t miss it!
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Migliaccio, John. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXIX." Innovation in Aging 6, Supplement_1 (November 1, 2022): 404. http://dx.doi.org/10.1093/geroni/igac059.1591.
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Abstract The Blues and Older Minority Musicians: More Than Just Music XXIXThe “ ’Bo Diddley’ Track”; GSA, 2022 Indianapolis, INLecture/Interview/ Performance: TBAIndianapolis has been described as “The Crossroads of America,” with a long history of fostering the music and entrepreneurial spirit of Black Americans. Starting in 1915 with Mrs. C.J. Walker, America’s first female millionaire and her cosmetic enterprise, and the Starr Piano Company and its Gennett Records studio – identified as “The Cradle of Recorded Jazz” in the 1920s and 30s – both were instrumental in national distribution of the works of the earliest blues, jazz, country, and gospel artists including Louis Armstrong, King Oliver, Alberta Hunter, and Charlie Patton among others.Indianapolis continues to host a thriving Blues music community, and will host the 29th consecutive year of GSA’s “Bo Diddley Track” with local older minority musicians, one of GSA’s most popular and fun events. This year will feature a lecture, interview, and mini-performance with leading local blues musicians, followed by a typically raucous live blues performance that evening at a local blues hotspot, with prizes for the first 50 GSA attendees. This has been going on for 29 years for a reason folks---don’t miss it!
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Martin, Jodie L. "Writing about music: The selection and arrangement of notation in jazz students’ written texts." British Journal of Music Education 35, no. 1 (September 12, 2017): 73–89. http://dx.doi.org/10.1017/s0265051717000171.
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Music notation is intrinsic in the composition and performance of Western art music and also in its analysis and research. The process of writing about music remains underexplored, in particular how excerpts of music notation are selected and arranged in a written text, and how that text describes and contextualises the excerpts. This article applies ‘semantic gravity’ from Legitimation Code Theory to characterise notational excerpts and their integration in a written text, by focusing on how closely they are connected to a particular performance or generalised across performances. It illustrates these concepts with case studies of tertiary students’ research projects to reveal how different purposes drive different notational usage when writing about music. This provides insight for music educators on how to support writing about music and the use of notational quotes.
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Heiderscheit, Annie, Stephanie J. Breckenridge, Linda L. Chlan, and Kay Savik. "Music Preferences of Mechanically Ventilated Patients Participating in a Randomized Controlled Trial." Music and Medicine 6, no. 2 (October 25, 2014): 29. http://dx.doi.org/10.47513/mmd.v6i2.177.
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Mechanical ventilation (MV) is a life-saving measure and supportive modality utilized to treat patients experiencing respiratory failure. Patients experience pain, discomfort, and anxiety as a result of being mechanically ventilated. Music listening is a nonpharmacological intervention used to manage these psychophysiological symptoms associated with mechanical ventilation. The purpose of this analysis is to examine music preferences of 107 MV patients enrolled in a randomized clinical trial that implemented a patient-directed music listening protocol to help manage the psychophysiological symptom of anxiety. 1 Music data presented heretofore includes the music genres and instrumentation patients identified as their preferred music. Genres preferred include: classical, jazz, rock, country, and oldies. Instrumentation preferred include: piano, voice, guitar, music with nature sounds, and orchestral music. The analysis of three patients’ preferred music received throughout the course of the study is illustrated to demonstrate the details and complexity involved in assessing MV patients, which substantiates the need for an ongoing assessment process.
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Ramafisela, Lingga. "Creating An E-Module For A Basic Musical Instrument (Compulsory Piano Course)." Jurnal Seni Musik 10, no. 2 (December 31, 2021): 93–98. http://dx.doi.org/10.15294/jsm.v10i2.49554.
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Learning basic instruments (compulsory piano) is a basic piano practice course that must be taken for all students except for piano major students. Learning this basic instrument (compulsory piano) encountered obstacles, namely that students still did not understand and could play the piano. This is certainly an obstacle in the process of learning basic instruments (compulsory piano) especially in the current situation where learning is carried out online. Electronic modules or e-modules are needed to assist students in an effective and efficient learning process. This basic instrument e-module design (compulsory piano) can function as a problem-solving idea, namely to develop effective and efficient learning materials. The purpose of this study is to facilitate the learning process in the basic instrument class (compulsory piano). The basic instrument e-module design (compulsory piano) is an important element in online learning which is arranged in a systematic and interesting way. This electronic module can be accessed using gadgets owned by students and supports the environmentally friendly (paperless) movement. The research method used is Research and Development with several stages, namely need assessment, design, and development/implementation. The last stage in this research is evaluation and drawing conclusions. The data are directly obtained in the basic instrument class (compulsory piano) in the Music Education Study Program. This e-module design is expected to be useful for the effective and efficient progress of the learning process for basic instruments (compulsory piano) in the Music Education Study Program, FSP ISI Yogyakarta.
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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.
Full textAbstract:
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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Hanganu, Dumitru. "Concert No.2 for trumpet in ‘B’ and piano by Oleg Negruta: structural and interpretative specification." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 17–22. http://dx.doi.org/10.55383/amtap.2022.2.03.
Full textAbstract:
Oleg Negruta produced different genre pieces for the trumpet. Out of ample pieces we single out the two concerts that contain difficulties for the execution and represent challenges for the performers. Concert nr.2 for the trumpet in ‘B’ and for the piano was written in 2014 and performed in premiere by the trumpet player and professor Vasile Ciubuc. The interpretative language of Concert nr. 2 is guided by the composer, indicating different terms of tempo and dynamic nuances.. The author used different groups of articulations, such as accents, staccato, legato, detache and others. The musical text contains appoggiaturas, mordents, trills – ornamental elements invoking the folklore origin of the thematic material. Of a certain importance in the composition language are the jazz stylistic proceedings, which bestow a specific coloring to the music. In this way a creative symbiosis is created between these two sources: folklore and jazz, structuring certain aspects related to the interpretation.