Littérature scientifique sur le sujet « Jazz vocals »
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Articles de revues sur le sujet "Jazz vocals"
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Синь, Ш. « Features of learning pop and jazz vocals ». Review of pedagogical research 6, no 2 (27 mars 2024) : 201–8. http://dx.doi.org/10.58224/2687-0428-2024-6-2-201-208.
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в данной статье исследуются особенности обучения эстрадно-джазовому вокалу, основной акцент делается на важности ощущения внутреннего голоса и уникального тембра голоса в любом возрасте. Целью статьи является анализ особенностей обучения эстрадно-джазовому вокалу; результаты исследования могут быть использованы в деятельности практикующих педагогов при обучении эстрадно-джазовому вокалу. Рассматривается необходимость обращения к педагогу и принятия решения о профессиональном обучении, что определяет будущую творческую судьбу. Автором подчеркивается индивидуальность артиста и соответствие подходов к обучению особенностям каждого ученика. В статье обсуждается значение правильной организации дыхания, работу с резонансом, атака звука и возрастные особенности в развитии голоса. Отмечается влияние возраста на развитие звучания голоса, вред от некорректной атаки звука и важность работы с резонаторами вокалиста. Рекомендации по работе с различными методиками и техниками пения («криковая» манера пения и использование твёрдой атаки) освещаются в контексте сохранения и развития голоса студентов. Исследование также подчеркивает необходимость знания педагогом не только методик обучения вокалу, но и психологических, фониатрических и физиологических аспектов для достижения оптимальных результатов в обучении эстрадному вокалу. this article examines the features of pop-jazz vocal training, the main emphasis is on the importance of feeling the inner voice and the unique timbre of the voice at any age. The purpose of the article is to analyze the features of teaching pop and jazz vocals; the results of the study can be used in the activities of practicing teachers in teaching pop and jazz vocals. The necessity of contacting a teacher and making a decision on professional training is considered, which determines the future creative destiny. The author emphasizes the individuality of the artist and the correspondence of approaches to learning to the characteristics of each student. The article discusses the importance of proper organization of breathing, working with resonance, sound attack and age-related features in voice development. The influence of age on the development of voice sound, the harm from incorrect sound attack and the importance of working with vocalist resonators are noted. Recommendations for working with various singing techniques and techniques (the «shouting» manner of singing and the use of solid attack) are highlighted in the context of preserving and developing students' voices. The study also highlights the need for a teacher to know not only vocal teaching techniques, but also psychological, phoniatric and physiological aspects in order to achieve optimal results in pop vocal training.
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Safronova, O. L. « Basic principles of articulation development in the pop and jazz vocal ». Vestnik of Saint Petersburg State University of Culture, no 4 (45) (décembre 2020) : 136–39. http://dx.doi.org/10.30725/2619-0303-2020-4-136-139.
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In this paper we will look at important issue of articulation in the pop and jazz vocal. The author touches upon the correlation and interaction of articulation skills and other components of the singing apparatus. Special attention is paid to the scat technique, which is considered through the prism of analyzing the improvisation techniques inherent in the jazz style. Author’s experience with this method provides students with effective exercises for the articulation apparatus development, and offers valuable articulation tips, both in the technical and creative areas. As a result of these exercises, students will fully develop their creative potential and master the technique of pop and jazz vocals.
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Лю, Ч. « Improvisation and imitation in jazz vocal training ». Management of Education 14, no 2-1(76) (15 février 2024) : 258–65. http://dx.doi.org/10.25726/n5807-2955-8461-u.
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В рамках данной статьи автор поднимает проблему импровизации и подражания в обучении джазовому вокалу. Целью статьи является понимание сущности импровизации и подражания в образовательном процессе по направлению «эстрадно-джазовый вокал». Для достижения указанной цели автор последовательно решает несколько задач. Прежде всего, он рассматривает процесс имитации на уроках вокала и выделяет три уровня этого процесса. Первый уровень – воспроизведение идентичного или максимально близкого исполнения. Второй уровень – имитация «в стиле», основанная на примерах и образцах. Третий уровень – имитация как вдохновение для чего-то другого. В статье описывается устное обучение, которое предпочтительнее письменного, а также различные формы устной имитации в музыкальном и словесном контекстах. Процесс имитации на уроках вокала включает и физические аспекты, такие как жесты и позы. Второй задачей является анализ разнообразия форм устной имитации на уроках вокала и выступлениях в джазе: устная речь не охватывает полностью явления подражания, и выделяет различные типы подражания, такие как дидактическое, взаимное агонистическое, референциальное и другие. Подчеркивается важность телесного вовлечения музыканта при подражании, определяющего тип имитации. Автор также обсуждает проблемы подражания в контексте требований к оригинальности и представляет идею вариации как способа разнообразить исполнение известных тем. Особое внимание уделяется стремлению к разговорному выражению и натуральной выразительности при исполнении. Учитывая сложность процесса обучения и пения, автор призывает искать баланс между подражанием и творчеством в музыкальном исполнении. In this article, the author raises the problem of improvisation and imitation in teaching jazz vocals. The purpose of the article is to understand the essence of improvisation and imitation in the educational process in the direction of «pop and jazz vocals». To achieve this goal, the author consistently solves several tasks. First of all, he examines the process of imitation in vocal lessons and identifies three levels of this process. The first level is the reproduction of an identical or as close as possible performance. The second level is an imitation «in style» based on examples and samples. The third level is imitation as inspiration for something else. The article describes oral learning, which is preferable to written, as well as various forms of oral imitation in musical and verbal contexts. The process of imitation in vocal lessons also includes physical aspects such as gestures and poses. The second task is to analyze the variety of forms of oral imitation in vocal lessons and performances in jazz: oral speech does not fully cover the phenomena of imitation, and distinguishes various types of imitation, such as didactic, mutual agonistic, referential and others. The importance of the musician's bodily involvement in imitation is emphasized, which determines the type of imitation. The author also discusses the problems of imitation in the context of the requirements for originality and presents the idea of variation as a way to diversify the performance of well-known themes. Special attention is paid to the desire for colloquial expression and natural expressiveness in performance. Given the complexity of the learning and singing process, the author urges to seek a balance between imitation and creativity in musical performance.
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Kasumova, V. V. « Distance learning in pop-jazz vocals in modern conditions ». Vestnik of Saint Petersburg State University of Culture, no 2 (43) (2020) : 140–43. http://dx.doi.org/10.30725/2619-0303-2020-2-140-143.
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POPOVA, Alina. « INTEGRATION OF JAZZ VOCALS PERFORMED BY POP ARTISTS OF KYIV ». Humanities science current issues 2, no 63 (2023) : 52–58. http://dx.doi.org/10.24919/2308-4863/63-2-9.
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Katz, Maria L. « Technologies for Training in Singing Breathing of Teenagers in Pop Vocal Class ». Uchenye Zapiski RGSU 20, no 1 (30 mars 2021) : 172–80. http://dx.doi.org/10.17922/2071-5323-2021-20-1-172-180.
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The vocalist’s breath is one of the important areas of work in the pop vocal class. This area of work is especially relevant in adolescence, since at this age stage this process will become conscious and meaningful, and not intuitive, and complex works that are included in the repertoire of adolescents will require a more attentive attitude to breathing technique. The problem of singing breath received a theoretical justification from the point of view of different methodological approaches and is considered both in the context of the features of the vocalist’s work in different vocal styles (academic, folk, pop-jazz) and in the context of solo and choral vocal performance. However, breathing technologies in teenagers involved in pop vocals remain poorly illuminated. The object of the study is the singing breath of teenagers of the pop vocal class in the institution of additional education.
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Setiarini, Agnes Tika. « Scat Singing Learning Method in Jazz Vocals for Vocal Students of Music Presentation Institut Seni Indonesia Yogyakarta ». Grenek Music Journal 12, no 1 (10 juin 2023) : 110. http://dx.doi.org/10.24114/grenek.v12i1.39747.
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Scat singing is the designation of vocal improvisation techniques in jazz music. This form of vocal improvisation was first popularized by Louis Armstrong in 1962. Scat singing is often learned by imitating improvised musical instruments into vocals, such as saxophones, trumpets, guitars, or pianos. Popjazz vocal students of the ISI Yogyakarta Music Presentation study program began to be introduced and learned scat singing from semester 2 to semester 6. Only a few students successfully apply this vocal improvisation technique when singing in performances and jam sessions. The author as a lecturer of popjazz vocal practice in the Music Presentation Study Program has observed the difficulties experienced by the majority of students. Several stages of learning have been applied in the learning process, for example by understanding scales and chord patterns, developing the main melody in songs, enriching vocal dialects, to multiplying musical references. This stage of learning was not significantly successful in helping students master scat singing. This study aims to formulate a learning method of vocal improvisation techniques for scat singing. The data collection process is carried out by observing the learning process during lectures, interviews with students, and regular singing practice. Inductive qualitative data analysis, which is an analysis based on the data obtained then developed a certain relationship pattern or hypothesis. The research was conducted by qualitative methods, with the final result being a descriptive sentence formulation of steps to master the vocal improvisation technique of scat singing. This conclusion is expected to be an overview for lecturers in order to determine the right approach to help students master scat singing and dare to apply it in songs.
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Voropaieva, Olena. « Tania Maria’s creative work in the context of trends in the development of jazz in the second half of the 20th century (on the example of the 1980s compositions) ». Aspects of Historical Musicology 27, no 27 (27 décembre 2022) : 57–72. http://dx.doi.org/10.34064/khnum2-27.04.
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Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian performer (piano, vocals) and composer Tania Maria should be highlighted. Analysis of recent research and publications showed that Tania Maria’s creative work in the context of Latin Jazz development has not been sufficiently studied at the present time, being limited mainly by short references to biographical articles and interviews with the artist in foreign online publications. Thus, Tania Maria’s work requires a much deeper study that determines the feasibility and scientific novelty of the proposed research, which aims to reveal the genre and stylistic specificity of Tania Maria’s work in the 80s of the 20th century, the period, when the complex of her individual compositional and performing characteristics was formed. The result of the study was the disclosure, based on historical-genetic, comparative, analytical methods, of the genre-stylistic origins of Tania Maria’s “intonation vocabulary”, where the metrorhythmic and melodic structures of Brazilian samba and the hot-jazz component closely interact with each other, as well as the intonation-textural features of some compositions of the 1980s from the albums “Piquant” and “Come With Me”. Conclusions. Tania Maria’s creative work in the 80s of the 20-th century exemplified by compositions “Yatra ta”, “It’s Not for Me to Say” and “Come With Me” is a combination of genre and stylistic features of funk, Latin-American samba and elements of pop music (jazz-Latin-pop-funk). The musical art of the second half of the 20th century demonstrates a variety of styles and trends that were quite quickly “re-intonated” in the jazz language, which testifies to the universality of jazz as a unique form of musical thinking, creativity and cooperation of musicians. The combination of these styles is organic in line with the trend of development of musical art of that period and at the same time is the basis of Tania Maria’s unique performance style as a representative of both, South American and European jazz music.
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Yakhno, Olena. « Vocal stylistics in rock music : dialectics of general and special ». Aspects of Historical Musicology 21, no 21 (10 mars 2020) : 279–92. http://dx.doi.org/10.34064/khnum2-21.18.
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The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
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Manko, S. « Analysis of the functioning of the domestic vocal variety school in the conditions of musical culture of Ukraine at the present stage ». Culture of Ukraine, no 72 (23 juin 2021) : 118–23. http://dx.doi.org/10.31516/2410-5325.072.16.
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The aim. The aim of the article is to analyze the current stage of the functioning of the vocal variety school in the musical culture of Ukraine and identify certain trends in its development directions. In order to achieve the marked goal, it is necessary to solve the following tasks: to determine the specifics of the development of a modern Ukrainian vocal variety school, analyzing its real position and known methods for the teachers of a variety vocal and to reveal the directions of which their realization is in modern musical culture of Ukraine.
The methodology. In this publication, methods of comparative analysis and synthesis were used to identify the specifics of teaching a variety vocal by domestic teachers. Also, we used systemic and cultural approaches to the study of variety vocal school in the musical culture of Ukraine.
The results. Having studied the functioning of domestic modern vocal schools, it can be concluded that this phenomenon though is quite relevant in modern musical culture of Ukraine, based mainly on the generally accepted and already known methods of variety vocals. There are single cases when teachers form their own teaching methodology and distribute it as Iryna Tsukanova, demonstrating her own master classes on the Internet. But the main tendency among domestic vocal teachers is that they are based on already well-known vocal techniques, taking from them the basis that it is necessary for each particular performer.
It is worth noting separately such a trend of domestic artists-teachers, as a commercialization of teaching activities, when vocal workshops are carried out for a group of students that study with other teachers. Such events can be called a master class with a star-teacher and they become more popular.
Another trend when well-known artists, such as Natalia Mohylevska and Tetiana Piskarova create their own vocal studio based on vocal techniques that were developed by the heads of studios. Other teachers give their lessons in these studios, and celebrities conduct master class for students of their own institution.
Variety vocal schools that are different by their stylistics, as a jazz or rock schools are more narrowly specialized. This makes teachers rely on the generally recognized world techniques of jazz or rock music, concentrating on the specifics of these directions and working them out with students.
The scientific topicality. The work of the domestic vocal variety school in modern musical culture of Ukraine is investigated. The specifics of the development of modern vocal variety school of Ukraine is revealed. The well-known techniques of the variety vocal teachers are analyzed. The main tendencies that are the basis for Ukrainian teachers in their work with students are determined. One of them is based mainly on the techniques of a variety vocal of famous world teachers, the other one — on their own methods.
The practical significance. Since the vocal variety art in the musical culture of Ukraine occupies a quite important place, this publication may be useful for domestic modern variety singers, vocal teachers and scientists, which will study it in the future.
Thèses sur le sujet "Jazz vocals"
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Cooper, Gloria Ann. « A multidimensional instructional approach for the solo jazz singer / ». Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226924.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Jan Eric Douglas. Includes tables. Includes bibliographical references.
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Fritzén, Jonathan. « Love birds. Piano + all instruments and vocals ». Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-910.
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Gunduz, Esin. « "BOZ" for jazz orchestra and vocal / ». [Huntington, WV : Marshall University Libraries], 2009. http://www.marshall.edu/etd/descript.asp?ref=963.
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Martin, Lee Ellen. « Jon Hendricks, Father of Vocalese : A Toledo Story ». Toledo, Ohio : University of Toledo, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=toledo1271424160.
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Thesis (M.A.)--University of Toledo, 2010.Typescript. "Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Masters of Musical Performance Degree." "A thesis entitled"--at head of title. Title from title page of PDF document. Bibliography: p. 84-86.
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Schmidt, Emanuel. « Communication processes in jazz performance ». Thesis, Sydney Conservatorium of Music, 2005. http://hdl.handle.net/2123/13718.
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Jensen-Hole, Catherine. « Experiencing the interdependent nature of musicianship and educatorship as defined by David J. Elliott in the context of the collegiate level vocal jazz ensemble ». Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/jensen-hole%5Fcatherine%5Fmary/index.htm.
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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 articulation are considered to be vital elements of any jazz musician's style; the study examines the changes in Ella Fitzgerald's syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing.
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Söderqvist, Svante. « Melodiskt spel på kontrabas : Utvidgade möjligheter inom improvisation och ensemblespel med hjälp av stråke och sång ». Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3542.
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During my studies at the Royal College of Music in Stockholm I have been exploring how I can develop as an improviser and as an ensemble musician. The main focus has been to use more arco playing, but also to sing unison and in harmony with the bass in order to broaden my expression. Another aim has been to compose music for my trio to implement my expanded way of performing. When I began the master’s program, I wanted to return to my roots as a classical cellist. With the help from classical teachers I was able to improve my bass technique, especially with the bow, and use that as a way to further widen my improvisation and accompany- ment skills. As a bonus, my cello playing got a boost from this work and it eventually became another important part of my artistic voice. The methods of my project have been to continuously test new ideas in my freelance work outside of KMH. I also interviewed fellow musicians to be able to reflect on whether my newly acquired knowledge and technique have had an effect on the way we make music together. In the thesis I also reflect on my inspiration from other musicians and artists and my personal philosophy not being bound to certain musical genres. Instead I want to take impressions from many different kinds of music and be open to all the different techniques in playing double bass that comes with a wide range of styles. An important result of this process is the making of the album “Arrival”, with Adam Forkelid on piano, Calle Rasmusson on drums and the Polish jazz violinist Adam Bałdych as a guest soloist. The record was released in March 2020 by the international jazz label Prophone/Naxos.
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Morgenroth, David Jonathan. « Collaborative Crossover : Identifying Classical Vocal Collaborative Piano Practices in Jazz Vocal Accompanying ». Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804985/.
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Classical vocal collaborative piano and jazz vocal accompaniment are well-established fields with long-standing performance traditions. Classical collaborative performance practices have been researched and codified, but jazz accompanying practices largely remain in the domain of aural tradition. Both classical and jazz accompaniment share associated practices, such as rubato, transposition, and attention to lyric diction and inflection, but there is little previous investigation into the idea that classical collaborative practices might apply to jazz accompanying. This research examines jazz piano accompanying practices in sung verses of standard tunes to demonstrate how accomplished jazz pianists intuitively use many of the same techniques as classical collaborative pianists to create balance with singers. Through application of expressive microtiming analysis to graphical displays of transcribed recorded performances, a strong correlation is established between the classical and jazz vocal accompanying traditions. Linking classical practices to jazz potentially creates a foundation for jazz accompanying pedagogy.
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Steed, Janna T. « Duke Ellington's jazz testament the sacred concerts / ». Theological Research Exchange Network (TREN), 1993. http://www.tren.com.
Texte intégralLivres sur le sujet "Jazz vocals"
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Armstrong, Louis. Ken Burns Jazz : The story of America's music. New York : Sony Music Entertainment, 2000.
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Vaughan, Sarah. Sarah Vaughan. Universal City, Calif : Verve Music Group, 2000.
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Edmonson, Kat. Old fashioned gal. [Place of publication not identified] : Spinnerette Records, 2017.
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Hartman, Johnny. The Johnny Hartman collection 1947-1972. Universal City, CA : HIPO, 1998.
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Harrold, Keyon. The mugician. New York, New York] : Legacy Recordings, 2017.
Trouver le texte intégralChapitres de livres sur le sujet "Jazz vocals"
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Buscatto, Marie. « Vocal Jazz, Commercial Jazz, Gendered Jazz ». Dans Women in Jazz, 23–32. New York : Routledge, 2021. http://dx.doi.org/10.4324/9781003177555-4.
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Buscatto, Marie. « Amateur Vocal Jams ». Dans Women in Jazz, 65–73. New York : Routledge, 2021. http://dx.doi.org/10.4324/9781003177555-8.
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Hargreaves, Wendy. « Pathways for Teaching Vocal Jazz Improvisation ». Dans Teaching Singing in the 21st Century, 303–17. Dordrecht : Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_18.
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Burrows, George. « ‘Until the Real Thing Comes Along’ ». Dans The Recordings of Andy Kirk and his Clouds of Joy, 128–81. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199335589.003.0004.
Texte intégralRésumé :
This chapter explores the recordings of Kirk’s band from ‘Until the Real Thing Comes Along’, a ‘special’ ballad that Kirk convinced Decca to record in 1936, to the disbanding of the Clouds of Joy in 1949. It primarily addresses the band’s commercial successes with vocal records, which increasingly dominated their Decca releases after 1936. The chapter shows how the popular vocals speak (or sing) loudest of the position and actions of a black band operating within a racist music industry and society. By considering the sweet-styled vocals relative to the band’s rapidly diminishing hot jazz output, this chapter challenges the enduring critical notion that Kirk’s band sold out on black-jazz authenticity with their turn to popular vocal recordings. Instead, it suggests how they found new ways to Signify on their situation within the racist culture in which they operated.
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Stokes, W. Royal. « Keepers of the Flame ». Dans Growing Up With Jazz, 1–66. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195159271.003.0001.
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Abstract have witnessed the artistry of bass virtuoso Leonard Gaskin on numerous occasions, in several jazz contexts, and hearing him play is always a delight. I had not had that pleasure for a while when, a couple of years ago, I attended the Sunday jazz brunch at New York’s Cajun Restaurant. The house quartet was led by Doc Pittman, on cocktail drum and vocals. Carol Sudhaher was on tenor saxophone and flute, Zeke Mullens was at the piano, and Myrna Lake shared the vocals with the leader. And there on bass was Mr. Gaskin. I was in town doing interviews for this book, and it occurred to me while I was enjoying the music and a bowl of artichoke soup that Leonard’s life and career would make a wonderful story.
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Anderson, Crystal S. « “Soul Breeze” ». Dans Soul in Seoul, 89–118. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.003.0003.
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Korean R&B artists cite the R&B tradition by emulating R&B instrumentation and gospel-inflected vocals and enhance the tradition through Korean music strategies that invoke multiple R&B genres and vocal styles. While Korean R&B artists are linked to pop groups through their reliance on R&B vocal styles, Korean R&B artists are more immersed in a variety of R&B genres. Korean R&B groups draw on complex musical arrangements featuring horns as part of a 1960s and 1970s soul music aesthetic. Korean R&B groups also draw on the Black female vocal tradition informed by gospel. At the same time, Korean R&B vocalists invoke multiple Black male vocal styles and multiple genres, including jazz and hip-hop. Through this intertextuality, Korean R&B artists participate in a globalized R&B tradition, expanding it beyond the Black/white binary.
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Giddins, Gary. « Old Guys Yes, Retro Never (The Best Jazz Records of 1998) ». Dans Weather Bird, 215–18. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0056.
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Abstract The retro vogue muddied the water a bit. Some jazz enthusiasts thought they had to proffer at least qualified support, as in: Isn’t this what we fantasized—a popular revival of swing, big bands, touch dancing, and, let’s just say it flat-out, an antidote to that damn rock? Indeed, if we can impeach the ‘60s, why not go whole hog and eradicate the ‘50s, where the trouble began? I call on every young person reading this to forage in granpappy’s and granmammy’s closets, keeping an eye peeled for round cardboard boxes—they may contain wartime fedoras and pleated skirts. Free passes to Saving Private Ryan and The Thin Red Line to the first person to locate a snood, dead or alive. On the other hand, don’t bother with old vinyl recordings, even if you can figure out how to play them, because a taste for retro will not necessarily translate into a taste for ‘30s and ‘40s jazz. Retro is exclusively dance music, like acid jazz, like second-rate orchestras of the Swing Era. It’s about generation, costume, and perhaps rebellion, all fine and dandy. But a cursory examination of records by such bands as Royal Crown Revue, the Flying Neutrinos, or Indigo Swing reveal little to interest listeners. Every tempo is jitterbuggy, every riff an homage to “In the Mood,” every beat laden with bass; arrangements and solos are generic, which is to say in opposition to the imperial individuality that sparked competition among the great players and bandleaders of the swing era. And the vocals are shameful. Who would have imagined that the worst vocals of 50 years ago would one day be considered forerunners? Merv Griffin and Harry Babbitt, your day has come.
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Rogovoy, Seth. « The Sheik of Araby’s Three Cool Cats ». Dans Within You Without You, 11–14. Oxford University PressNew York, 2025. http://dx.doi.org/10.1093/oso/9780197627822.003.0003.
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Abstract Chapter 2 of Within You Without You examines two early Beatles recordings. “The Sheik of Araby” was composed in 1921 and had been widely played for over four decades when the Beatles recorded it. The pop number “Three Cool Cats” was originally by the Coasters. These two songs illustrate how Harrison and the Beatles had musical influences far beyond rockabilly, R&B, and early rock ’n’ roll. Harrison and his bandmates were equally well versed in pre-rock pop, novelty tunes, British music hall, vaudeville, jazz, Broadway, operetta, folk, and country and western music. The recordings also feature Harrison on soulfully adept lead vocals, accompanying himself with inventive guitar licks that drew upon Latin music, surf rock, and Middle Eastern modalities.
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Gale, Catherine. « Jazz Vocal ». Dans Teaching School Jazz, 139–50. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0013.
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Vocal techniques in classical and jazz have much in common; however, even experienced vocalists need to learn the aspects of jazz singing that make it unique. This chapter aims to dispel the myth that jazz singing is completely different from classical singing while pointing out the subtle differences between them. Similarly, aspiring jazz singers need to study all the things that instrumental jazz musicians do and then incorporate words. Topics covered in this chapter include (a) teaching the differences in timbre and vibrato that create the unique jazz vocal sound; (b) centering jazz vocal intonation; (c) avoiding some of the most common pitfalls of jazz diction; and (d) a progressive discussion of types of vocal improvisation, from strategic variation in rhythms and melodies to scat singing. The chapter concludes with a list of important classic jazz standards that have lyrics, including suggestions for teaching those standards according to age and experience.
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« Vocal Jazz ». Dans Early Jazz, 181–88. SUNY Press, 2024. http://dx.doi.org/10.1515/9781438496399-014.
Texte intégralActes de conférences sur le sujet "Jazz vocals"
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Munteanu, Angelica. « Some teaching aspects of pop and jazz vocal duo ». Dans International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.17.
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The article examines some aspects of the Pop and Jazz Vocal Duet teaching in a musical educational institution. The author deals with such issues as working on a poetic and musical text, creating a stage image. In addition, recommendations are given on the choice of the duet’s repertoire at different stages of training. The article presents examples from a number of compositions that are of interest from the point of view of studying by beginner singers.
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Roman, Iulia. « Interpretive vision on the work habanera for violin and piano by the romanian composer Dumitru Capoianu ». Dans Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.06.
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The composer Dumitru Capoianu is part of the romanian composers who have given valuable works to contemporary music. His creation includes theater music, film music, symphonic music, vocal-symphonic music, choral music, chamber music. Habanera for violin and piano is the work that belongs to the genre of instrumental miniature, a composition in which the elements of jazz café concert blend harmoniously with passages of virtuosity.
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Maltseva, O. V., et I. A. Temchenko. « SECTION 8. Performing possibilities of vocal jazz improvisation (on the example of the performance of works : Tom Jones “Fly me to the Moon”, Michael Bublé “Feeling Good”) ». Dans VOCAL AND CHORAL ART AND EDUCATION : HISTORICAL RESEARCH, PERFORMANCE CONCEPTS, MODERN TRENDS. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-391-0-8.
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