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Tesis sobre el tema "Jazz Analysis"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 27 de enero de 2023

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1

Davis, Glen Roger. "Levels analysis of jazz tunes." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314720939.

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2

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

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this

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3

Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophon

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4

Moore, Michael D. "A performance analysis of selected works for trumpet by Chet Baker /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1999.

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5

Franz, David Matthew. "Markov Chains as Tools for Jazz Improvisation Analysis." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/36831.

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This thesis describes an exploratory application of a statistical analysis and modeling technique (Markov chains) for the modeling of jazz improvisation with the intended subobjective of providing increased insight into an improviser's style and creativity through the postulation of quantitative measures of style and creativity based on the constructed Markovian analysis techniques. Using Visual Basic programming language, Markov chains of orders one to three are created using transcriptions of improvised solos by John Coltrane in his song Giant Steps. Still considered as statistical data, th

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6

Lyttle, David. "Modern approaches to swing jazz drumming : A stylistic analysis of twelve American jazz drummers, 1980-2008." Thesis, University of Ulster, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502893.

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7

Gay, Fernández Carlos. "Jazz influence on classical clarinet : Analysis and identification of jazz elements in classical clarinet repertoire in the 20th century." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2384.

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This thesis is about jazz influence on classical clarinet repertoire, focusing on analysis and identification of all the jazz elements that run through this style into classical music. It also wants to describe the huge change of way of playing noticeable in the Swing Era in relation to the classical way.In the first part of the thesis I describe the birth of jazz and the political, historical and musical situation in the West, to understand the process in which they got blended. After that I identify and classify jazzy elements in classical music, analyzing in depth the repertoire of my exam-

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8

Harvey, Stephen P. "Jazz Chamber Music: An Analysis of Chris Potter’s Imaginary Cities and a Musical Composition." Youngstown State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1471354255.

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9

Caban, Ruben. "An analysis of six original Latin jazz compositions and arrangements." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/1951.

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The purpose of this thesis is to examine the cross-cultural fusion of jazz harmony and Afro Caribbean rhythms. These six compositions were chosen for the composers Master's recital to demonstrate how his writing technique was influenced by his cultural and musical experience during his years of study and performance in the United States and abroad. The instrumentation was chosen to exemplify the fusion of the traditional percussive sounds of Latin music with jazz harmony, melody and improvisation. It is important to note that even though one of the compositions, E.T., is not written in a Latin

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10

Cook, Scott Alexander. "Referential sets, referential tonics, and the analysis of contemporary jazz." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42104.

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While jazz has become more integrated into academia, the repertoire that is commonly examined is out of date. Today's leading jazz scholars tend to focus on a handful of musicians who made their mark in the '50s and '60s. But jazz writing has continued to evolve in the last fifty years, particularly in regards to harmony. Though many rooted chords—including MM7, mm7, and Mm7—can be heard in succession, the relationships between adjacent chords are obscure, and rarely manifest the standard II–V–I progression found in classic jazz. Often, successive chords belong to different diatonic sets. Some

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11

DeAngelo, Justin. "Zen and the art of motorcycle maintenance : score and analysis /." View online, v.1, 2008. http://repository.eiu.edu/theses/docs/32211131458621.pdf.

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12

Brown, Daniel Richard. "A HISTORY AND ANALYSIS OF THE ADVANCEMENTS IN JAZZ TUBA PERFORMANCE FROM 1940 UNTIL 2010." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195330.

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The purpose of this study is to provide a history of the development of jazz tuba performance from 1940 until 2010. The history consists of profiles of jazz tubists that developed or participated in new styles of jazz tuba performance. Musical figures are provided for different decades of change. Figures are taken from the original scores or transcribed from recordings and analyzed to highlight advancements.

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13

Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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14

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

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While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements

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15

Fay, Kaitlyn A. "In search of effective jazz education| An analysis and comparison of pedagogical methods employed by directors of successful high school jazz ensembles." Thesis, The William Paterson University of New Jersey, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1538595.

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<p> Jazz education within academia is still young, yet many educators have been recognized for successful leadership of high school jazz ensembles. Directors of finalist bands from the 2012 Essentially Ellington competition, a national opportunity hosted by Jazz at Lincoln Center, completed a questionnaire and interview regarding their pedagogical techniques and supplemental methods. All participants responded that listening to recordings and the fostering of peer mentoring are crucial elements. Other important techniques include singing, sight reading, rhythmic exercises, and the use of blu

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16

Gold, Michael J. "The jazz improvisations of the tenor saxophonist Warne Marsh an eclectic analysis /." Full text available, 1995. http://images.lib.monash.edu.au/ts/theses/goldm.pdf.

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17

Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

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18

Cogswell, Michael. "Melodic Organization in Four Solos by Ornette Coleman." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501207/.

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The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography.

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19

Hardester, Bryan Matthew. "An analysis and compositional application of trombonist John Allred's improvisational style." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4852.

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20

Heffner, Steven. "An Analysis of Dave Holland's Free Improvisation in "Waterfall" and Its Pedagogical Applications for Bassists in Avant-Garde Performance." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609128/.

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This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melod

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21

Fraile, Alex. "Motivic and Voice-Leading Coherence in the Improvisations of Saxophonist Chris Cheek." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062820/.

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Saxophonist Chris Cheek has been a reference for his work as a sideman with some of the most established jazz artists in the international jazz scene of the last twenty-five years. Despite his importance, there is lack of detail in the available publications about Cheek. The short length and journalistic character of the publications only produce surface descriptions of Cheek's style. There is a need to further describe the melodic elements present in Chris Cheek's style in order to have a better understanding of the implications and importance of these elements across the history of jazz saxo

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22

Conti, Agustin A. "Argentine music styles contributions to contemporary jazz language : analysis of six original compositions." FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/2428.

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The purpose of this thesis is to present and analyze six original compositions and arrangements by Agustin A. Conti that demonstrate the influence of Argentinean music on Jazz composition. Conti’s compositions combine elements of the Chacarera, Candombe, Murga, Milonga, and Malambo styles, with the odd-meter ostinato and metric modulation used in modem Latin jazz. The thesis includes scores of the six works, as well as a CD of the thesis recital, performed by a jazz quartet consisting of tenor saxophone (or soprano), piano, electric bass and drum set.

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23

Hawley, Laura. "Jazz improvisation, analysis, and interpretation: Three performances of "Honeysuckle Rose" by Ella Fitzgerald." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27520.

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This thesis develops a framework for analyzing melodic improvisation on a jazz standard in order to explore how the improvisation relates to the original melody and harmony of the song. Using three recorded performances of "Honeysuckle Rose" by Ella Fitzgerald, the analytic method reveals the complex web of melodic and harmonic relationships in her improvisational style and musical craft. The first chapter outlines important terminology and addresses the use of transcription as a tool for analyzing recorded performance. The second chapter explores current practices in jazz analysis and discuss

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24

Versola, A. Mariela. "Jazz & Apartheid| An Analysis of The Life and Music of Hugh Masekela." Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10828446.

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<p> South African trumpeter Hugh Masekela is best known for his number one hit “Grazin’ In The Grass” and his composition “Bring Him Back Home, Nelson Mandela” that became the anthem for the anti-apartheid cause. Though some scholarship on Masekela and jazz in South Africa exists, no study has offered musical analysis of Masekela’s prolific body of work. The purpose of this document is to examine Masekela’s musical and personal evolution towards advocacy and activism, and to identify and analyze elements of protest within his music. Findings include a

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25

Heyer, David 1979. "Vocabulary, Voice Leading, and Motivic Coherence in Chet Baker's Jazz Improvisations." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12152.

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xxv, 492 p. ： music<br>This study applies Schenkerian theory to Chet Baker's jazz improvisations in order to uncover the melodic, harmonic, and contrapuntal hallmarks of his style. Analyses of short excerpts taken from multiple recorded improvisations reveal Baker's improvisational vocabulary, which includes recurring underlying structures that Baker embellishes in a wide variety of ways and places in a wide variety of harmonic contexts. These analyses also explore other traits (rhythmic, timbral, etc.) that appear in Baker's improvisations throughout his career. The dissertation culminates in

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26

Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.

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This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aur

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27

Steinberg, Ella Nora Parks. "“Take a solo”: An analysis of gender participation and interaction at school jazz festivals." Scholarly Commons, 2001. https://scholarlycommons.pacific.edu/uop_etds/2469.

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This study documented participation at school jazz festivals according to gender and instrument and explored interaction patterns between clinicians and students to determine if participation patterns in jazz education resemble those in math and science, where females have been found to be underrepresented in high-level courses. This study analyzed data collected at two middle and high school jazz festivals with male and female students participating in stage performances and in post-performance clinics. Out of a total student population of 556 performers, males were found to represent a dispr

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28

Butete, Netsayi. "The jazz divas an analysis of the musical careers of six New Brighton vocalists." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002298.

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There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton

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29

Belck, Scott Brian. "LICKETY SPLIT: Modern Aspects of Composition and Orchestration in the Large Jazz Ensemble Compositions of Jim McNeely: An Analysis of EXTRA CREDIT, IN THE WEE SMALL HOURS OF THE MORNING, and ABSOLUTION." Cincinnati, Ohio : University of Cincinnati, 2008. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1204569102.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.<br>Advisor: Alan Siebert. Title from electronic thesis title page (viewed May 12, 2008). Includes abstract. Keywords: McNeely, Jim; jazz arranging; wright, rayburn; vanguard jazz orchestra; Thad Jones Mel Lewis jazz orchestra; jazz composition;. Includes bibliographical references.

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30

Kteily-O'Sullivan, Laila Rose. "Klangfarben, Rhythmic Displacement, and Economy of Means: A Theoretical Study of the Works of Thelonious Monk." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501262/.

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The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The mus

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31

Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16621/1/Clare_Hansson_Thesis.pdf.

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This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aur

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32

Neciosup, Hector D. "An Analysis Of Five Compositions Representing The Fusion Of Jazz, World, and Latin American Rhythms." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/341.

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The purpose of this Thesis Recital, documented on the accompanying compact disc, was to merge the influences of American Jazz, World Music, and Latin American idioms into a program of five original arrangements for six-piece band. Each arrangement combines a modern approach to jazz harmony and melody with world percussion rhythms and instruments. Rhythms from different parts of the world are integrated, creating a special, completely innovative blend. The instrumentation I have chosen—together with the stylistic contributions of the individual performers— create a sound, and timbre that combi

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33

Clark, Colleen (Musician). "The Evolution of the Ride Cymbal Pattern from 1917 to 1941: An Historical and Critical Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505181/.

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The purpose of this study is to provide a historiographical and musical analysis examining the jazz ride cymbal pattern, from its inception on woodblock, small accessory cymbals, hand cymbal mechanisms and brushes through what becomes known as the modern-day ride cymbal pattern. This research examines a wide array of drummers and bandleaders, with the objective of identifying the earliest recordings of this important addition to jazz drumming, and popular music history while analyzing the ride cymbal pattern's evolution through definitive recordings. The study begins with the earliest known re

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34

Lovell, Jeffrey. "An Exploration of Melody, Harmony, and Improvisation in the Music of Stevie Wonder." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12947.

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In this dissertation, I examine Stevie Wonder's compositional style from his celebrated "classic period," (1972-1976) focusing specifically on the concentrated two-year time span from 1972-1974 marked by his unparalleled creative output that launched him into superstardom. My study operates on the premise that most melodic relationships are governed by a fundamentally pentatonic process and that harmonic relationships are largely governed by jazz-influenced tonal processes. I have transcribed dozens of examples from the time period under review in order to survey the expressive interaction bet

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35

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

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Woody Shaw is one of the most influential jazz trumpet players of the past fifty years. Despite his importance, very few models exist that contextualize Shaw's improvisatory approach inside modern jazz pedagogy. Writers such as Rex Richardson, Eric O'Donnell, and Gavin Franklin have identified key elements of Shaw's style, and have begun a critical examination of Shaw's music. While extensive, these approaches do not take into consideration the impact free jazz had on Shaw's technique, nor do they provide a model for how to duplicate Shaw's style. This project examines four elements of Shaw's

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36

Jichova, Miroslava. "Gendered Representations of Jazz Vocal Artists: A Critical Discourse Analysis of CD and Performance Reviews, and Interviews." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/569.

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This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent

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37

Betzer, Jennifer. "The Innovation and Influence of Jazz Harpist Dorothy Ashby (1932-1986)." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703423/.

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A comparative analysis of the musical transcriptions of Dorothy Ashby with those of her predecessors proves that Ashby was a uniquely powerful and innovative influence on the genre of jazz harp. This dissertation begins with a summative biography of Ashby, following her education in both jazz and classical music through to her career highlights as a performer, arranger and composer. An analysis of Ashby's recordings reveals the development of her groundbreaking musical style throughout her life. This paper also examines Ashby's social activism through musical theatre, especially with regards t

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38

Simon, Scott J. "A multi-dimensional entropy model of jazz improvisation for music information retrieval." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4929/.

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Jazz improvisation provides a case context for examining information in music; entropy provides a means for representing music for retrieval. Entropy measures are shown to distinguish between different improvisations on the same theme, thus demonstrating their potential for representing jazz information for analysis and retrieval. The calculated entropy measures are calibrated against human representation by means of a case study of an advanced jazz improvisation course, in which synonyms for "entropy" are frequently used by the instructor. The data sets are examined for insights in music info

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39

Heffner, Steven (Bassist). "An Analysis of Dave Holland's Free Improvisation in "Waterfall" and Its Pedagogical Applications for Bassists in Avant-Garde Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609128/.

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This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melod

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40

Pamies, Sergio 1983. "The Controversial Identity of Flamenco Jazz: A New Historical and Analytical Approach." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849724/.

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There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the existent literature on flamenco jazz on the evaluation of these recordings and these artists' achievements and contributions to this fiel

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41

Freedy, David Rawlings. "Brecker's Blues: transcription and theoretical analysis of six selected improvised blues solos by jazz saxophonist Michael Brecker." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1063851435.

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42

Mounzer, Jason. "Law of the Shortest Way and Jazz Improvisation: A Voice-Leading Model for the Analysis of "'Round Midnight"." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38196.

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This thesis presents a method of analyzing jazz improvisation and jazz style by using a voice-leading model called “Top Lines.” It compares three separate performances of Thelonious Monk’s “’Round Midnight” by Monk, Gerry Mulligan, and Wes Montgomery. The term Top Lines refers to a voice-leading procedure created by moving as little as possible between chords tones (roots, thirds, fifths, sevenths, and upper functions) of a chordal progression. Top Lines are potential voice-leading lines in the uppermost register and follow the “Law of the Shortest Way.” The thesis defines Top Lines, shows how

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43

Seong, Sekyeong. "Bagatelles No. 6 and No. 8, Op. 59 by Nikolai Kapustin:Background, Analysis, and Performance Guideline." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429867811.

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44

Stewart, Neal Edward. "Non-lyrical democracy : a rhetorical analysis of Miles Davis' Kind of Blue." Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/902.

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Binek, Justin. "The Evolution of Ella Fitzgerald's Syllabic Choices in Scat Singing: A Critical Analysis of Her Decca Recordings, 1943-52." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984212/.

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This study examines the evolution of Ella Fitzgerald's scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald's melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articula

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46

Wunch, Rebecca Lynn. "The merger of jazz and twentieth century a performance analysis of Donald Martino's A set for clarinet /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1196200383.

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Montgomery, Clyde. "A comparative analysis of teacher behavior of jazz and concert ensemble directors in selected Oklahoma high schools /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1986.

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48

Strother, Eric Scott. "The development of Duke Ellington's compositional style a comparative analysis of three selected works /." Lexington, Ky. : [University of Kentucky Libraries], 2001. http://lib.uky.edu/ETD/ukymuth2001t00012/thesistext.pdf.

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Thesis (M.A.)--University of Kentucky, 2001.<br>Title from document title page. Document formatted into pages; contains viii, 69 p. : ill. Includes abstract. Includes bibliographical references (p. 67-68).

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49

Williams, Karen. "Key success factors in managing the visitor experience at the Cape Town International Jazz Festival / Williams K." Thesis, North-West University, 2011. http://hdl.handle.net/10394/7611.

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The event tourism industry is one of the fastest growing tourism industries worldwide. One type of event that is growing immensely is festivals, especially music festivals such as the Cape Town International Jazz Festival. As a result of the fast growing pace of festivals, it has become crucial for a festival to sustain itself in the market place to stay competitive. The Cape Town International Jazz Festival (the Jazz Festival) is a fast growing music festival and hosts numerous well–known local and international jazz artists, as well as young up–and–coming artists. For this exciting Jazz Fest

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50

Satterthwaite, Gregory. "Beyond Fourths and Pentatonics: A Critical Analysis of Selected Recordings of McCoy Tyner from 1962 to 1963." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703303/.

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In this paper, I explore the early musical language of McCoy Tyner. Today, Tyner is recognized mostly for his use of quartal harmony and pentatonic scales despite having made recordings in his early career that reflect a more mainstream approach. In an effort to expand how Tyner is represented, I argue that Tyner's early style was characterized by a graceful balance of tradition and innovation, a masterful blend of bebop syntax with pentatonic melodies and quartal harmonies. The recordings that I analyze and discuss are: "Effendi," "Cousin Mary," and "Newport Romp." I transcribed and analyzed

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