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Articoli di riviste sul tema "Jazz – Influence"
1
Kwaczyńska, Olga. "The Reception of American Jazz in Japan: An Outline of Issues". Kwartalnik Młodych Muzykologów UJ, n. 44 (1) (2020): 33–46. http://dx.doi.org/10.4467/23537094kmmuj.20.027.13900.
Testo completoAbstract (sommario):
The following article presents the history of Japanese jazz, from the first musical contacts to its contemporary successes and problems of the jazz music market. An important role in the development and evolution of jazz in Japan (even before the post-war US occupation of that country) was played by the presence of American military forces in the Philippines, which, as an American-dependent territory, maintained cultural contacts with the United States, where jazz had been born at the beginning of the 20th century and became one of the most popular forms of music. Apart from contact with Filipino musicians, who were the first source of jazz education for the Japanese, the rise of jazz cafés (jazzu-kissa) was also important for the development of jazz in the Land of the Cherry Blossom. The cafés played a huge role in generating interest in jazz and shaping musical tastes. The article also shows the influence of jazz on the formation of a modern, American-type lifestyle among the Japanese middle-class. In addition, the article discusses the complex issue of the authenticity of Japanese jazz in relation to American jazz and the role of world-famous Japanese musicians, such as Toshiko Akiyoshi, in overcoming stereotypes. The aim of the article is to demonstrate the universality and at the same time the local character of contemporary Japanese jazz as well as the distinguishing features of jazz in Japan.
2
Murphy, John P. "Jazz Improvisation: The Joy of Influence". Black Perspective in Music 18, n. 1/2 (1990): 7. http://dx.doi.org/10.2307/1214855.
Testo completo
3
Sykes, Tom. "Music Outside? Innovation and ‘Britishness' in British Jazz 1960-1980". European Journal of Musicology 16, n. 1 (31 dicembre 2017): 178–90. http://dx.doi.org/10.5450/ejm.2017.16.5786.
Testo completoAbstract (sommario):
The 1960s and 1970s are regarded by some historians as being particularly creative decades for jazz in Britain, when British jazz developed its own sound that was distinct from that of American jazz. While not denying that this was a creatively fruitful period in British jazz, in this paper I argue that a ‘British sound' in jazz is difficult, perhaps impossible, to define, even though some authors have referred to a sense of ‘Britishness', particularly in the work of certain musicians discussed by Ian Carr in his book Music Outside: Contemporary Jazz in Britain. Some British jazz, performed largely by white (and mostly male) musicians at this time, was influenced during the 1960s by the contribution of immigrant black musicians from South Africa and the Caribbean; at the same time, musicians such as Michael Garrick and John Surman were drawing to some extent on British folk music for inspiration. Referring to examples from the period, I suggest that although much British jazz from 1960 to 1980 was innovative and became less ‘American', development of its styles was affected by many musical, cultural and political factors. To what extent this music sounds ‘British' is debatable, but its influence has led to the pluralism of jazz styles in Britain that continues today.
4
Dunkel, Mario. "“It Should Always Be a Give-and-Take”". European Journal of Musicology 16, n. 1 (31 dicembre 2017): 191–207. http://dx.doi.org/10.5450/ejm.2017.16.5787.
Testo completoAbstract (sommario):
The 1960s and 1970s are regarded by some historians as being particularly creative decades for jazz in Britain, when British jazz developed its own sound that was distinct from that of American jazz. While not denying that this was a creatively fruitful period in British jazz, in this paper I argue that a ‘British sound' in jazz is difficult, perhaps impossible, to define, even though some authors have referred to a sense of ‘Britishness', particularly in the work of certain musicians discussed by Ian Carr in his book Music Outside: Contemporary Jazz in Britain. Some British jazz, performed largely by white (and mostly male) musicians at this time, was influenced during the 1960s by the contribution of immigrant black musicians from South Africa and the Caribbean; at the same time, musicians such as Michael Garrick and John Surman were drawing to some extent on British folk music for inspiration. Referring to examples from the period, I suggest that although much British jazz from 1960 to 1980 was innovative and became less ‘American', development of its styles was affected by many musical, cultural and political factors. To what extent this music sounds ‘British' is debatable, but its influence has led to the pluralism of jazz styles in Britain that continues today.
5
III, William Howland Kenney. "The Influence of Black Vaudeville on Early Jazz". Black Perspective in Music 14, n. 3 (1986): 233. http://dx.doi.org/10.2307/1215064.
Testo completo
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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival". European Journal of Cultural Studies 20, n. 2 (27 aprile 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.
Testo completoAbstract (sommario):
This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.
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Bruckner-Haring, Christa. "The Development of the Austrian Jazz Scene and Its Identity 1960-1980". European Journal of Musicology 16, n. 1 (31 dicembre 2017): 136–57. http://dx.doi.org/10.5450/ejm.2017.16.5784.
Testo completoAbstract (sommario):
In Austria, a country steeped in music history and famous for composers such as Mozart, Haydn, and Bruckner, jazz was quick to earn a place in the cultural landscape. After World War II, important jazz scenes rapidly evolved in Vienna and Graz and, particularly from the 1960s onwards, grew into a strong and independent national jazz scene. Its musicians and ensembles focussed on developing their own characteristics and styles. This article examines primary aspects of the jazz scene during these formative years, such as the series of amateur jazz festivals held in the 1960s, Friedrich Gulda's commitment to jazz, Graz as a jazz centre and the institutionalisation of jazz at the Academy of Music in Graz in 1965, the role of the Austrian broadcasting network (ORF), and the impact of the Vienna Art Orchestra. In addition to archival records and musicological and journalistic texts, interviews conducted with members of different parts of the jazz scene offer important insights into the development of jazz during this period (with musicians, ensembles, educators and researchers, festival and venue organisers, agencies and policy makers, members of the media). This article offers an overview of pertinent aspects of the Austrian jazz scene between 1960 and 1980, revealing opinions about the influence of these aspects on the formation of Austrian jazz identity.
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Parsonage, Catherine. "A critical reassessment of the reception of early jazz in Britain". Popular Music 22, n. 3 (ottobre 2003): 315–36. http://dx.doi.org/10.1017/s0261143003003210.
Testo completoAbstract (sommario):
The Original Dixieland Jazz Band's visit in 1919–1920 has been well documented as the beginning of jazz in Britain. This article illuminates a more complex evolution of the image and presence of jazz in Britain through consideration of the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth to early twentieth centuries. The processes through which this evolution took place are considered with reference to the ways in which jazz was introduced to Britain through imported revue shows and sheet music.It is an extremely significant but often neglected fact that another group of American musicians, Will Marion Cook's Southern Syncopated Orchestra, also came to Britain in 1919. Remarkably, extensive comparisons of the respective performances and reception of the ODJB and the SSO have not been made in the available literature on jazz. Examination of the situation of one white and one black group of American musicians performing contemporaneously in London is extremely informative, as it evidences the continuing influence of the antecedents of jazz and the importance of both groups in shaping perceptions of jazz in Britain.
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Diachenko, Yu S. "Pop‑jazz works by Viktor Vlasov: genre and style innovations". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, n. 56 (10 luglio 2020): 29–43. http://dx.doi.org/10.34064/khnum1-56.02.
Testo completoAbstract (sommario):
Background. From the second half of the XX century to the present time in the musical culture of the world we observe significant influence of jazz. New trends, styles, genres is appeared due to the interaction of jazz and academic music. Thus, at the beginning of the XX century such phenomenon of musical art rises as a synthesis of features of jazz and pop music. This process leads to the renewal of musical language, experimentation, the emergence of new styles and trends. All mentioned above are largely inherent in variety-jazz accordion art, which has a significant spread from the early XX century. The formation of the European accordion variety-jazz direction is connected, for the most part, with the genre orientation of the works of a certain region. In France it was a musette. In Germany there were virtuoso fantasies, variations on the themes of popular song and dance melodies, waltzes. In Italy – tarantella, samba, tango. “In the first decades of the XX century accordion began to be widely used in the USA. From beginning of popularization, it was emigrants from Italy”, notes M. Imkhanitskiy (2004: 304–305). In Ukraine, the stage of the emergence of variety-jazz style is associated with the assimilation of the European and American traditions of variety and jazz accordion art. The purpose of the article is to determine the main genre and style levels of the embodiment of variety-jazz style in the works of V. Vlasov. Presenting main material. The integration process of Ukrainian accordion art is significantly separated from the world performing movement. The variety of stylistic vectors (variety, jazz, pop-jazz) and the high level of professionalism of the performers significantly affect the current trends of variety-jazz direction. Victor Vlasov is one of the personalities who has a great influence on the modern process of development of variety-jazz direction in its national specifics. The introduction of professional technical-expressive and artistic components in his compositions is due to the author’s impeccable knowledge of the possibilities of accordion. The embodiment of jazz stylystics is achieved in V. Vlasov’s works by specific means: clear and pulsating metrorhythm, special melody and harmony, jazz phrasing, swinging, uniqueness of articulation. First, V. Vlasov uses rhythmic-factural models, typical of certain genres that were not previously involved in accordion practice. Secondly, he uses quasi-improvisations – the improvisational sections on a harmonious basis taked from main thematic material; third, imitations of the sound of an ensemble in different “timbre layers”, sonor effects in the form of various blows on parts of the instrument, on the floor, etc., mimicing the sound of percussion instruments. Fourth, V. Vlasov often uses swinging. Analyzing the compositional style of V. Vlasov, we find its characteristic features: at the level of the genre subsystem, the composer uses traditional genres of variety music; the level of the evolutionary subsystem is characterized by stylistic diversity (academic, avant-garde, electronic, variety-jazz trends); ethnic metasystem in the artist’s work is represented by the folklore basis of the works, the involvement of traditional genres of certain regions (“Vesnyanka”, “Kolyadka”, “Tarantella”, “Tango”, “Bossa Nova”); historical metasystem is manifested in the use of historically formed jazz styles (New Orleans’ jazz, bebop, swing, cool, etc.). The article considers the embodiment of variety-jazz style on the example of one of the parts of the V. Vlasov’s cycle “Variety-jazz compositions”, the piece “Basso ostinato”. The relevance of the study of this work is connected with its considerable popularity among performers of different countries, the active use of the work by participants in various competitions of accordionists. Using a simple compositional element filled with altered chords, the author creates a clear harmonious and formative grid as a jazz square. Synthesizing the academic form of musical art (Basso ostinato) with variety-jazz style, V. Vlasov created a pattern of his own compositional style. V. Vlasov’s works, in general, have a clear form, mostly there are complex three-part or variational compositions, but his variety-jazz style has its own specifics: ● use of altered chord; ● involvement of noise effects, specific accordion strokes and techniques; ● quasi-improvisations based on the principles of jazz music. Conclusions. V. Vlasov’s works have their influence on the development of variety-jazz music today. He remains one of the first composers to integrate and develop at a high professional level variety-jazz direction in the domestic accordion art. The composer represents new (to accordion-art) jazz performing techniques, novelty of musical ideas and their textural and intonational embodiment. Manifestation of variety-jazz style of V. Vlasov is a set of personal means of expression. Thus, the artist’s works are characterized by the use of altered chords, the involvement of noise effects (“percussion”), specific accordion strokes and techniques; introduction of quasi-improvisations based on the principles of jazz music. V. Vlasov’s individual and stylistic searches determine the characteristic features of the author’s school as a stylistic phenomenon in the development of domestic and European accordion art. Stylistic orientation of V. Vlasov’s compositions – New Orleans jazz, swing, bee-bop, cool, progressive – presents a wide range of genres and styles.
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Samardžić, Nikola. "The jazz avant-garde in the American economy". New Sound, n. 47 (2016): 75–86. http://dx.doi.org/10.5937/newso1647075s.
Testo completoAbstract (sommario):
Jazz originated and evolved in a free market economy and complex mutual relations with unregulated social conjuncture. Coping with social challenges during the Progressive era (1890-1920) contributed to the partial emancipation of marginalized groups; however jazz, in its first decades, remained directed to the general need for mass entertainment (the "jazz era" in the 1920s). The artistic development of jazz was therefore temporarily delayed during the economic crisis, Great Depression and the new recession of the late 1930s (1929-1938). The first movement in jazz that could be considered to be an art for art's sake, while renouncing any populist elements, appeared in 1939 Coleman Hawkins' Body and Soul recording. Market and social conditions for the emergence of the avant-garde began to mature only during the years after 1945, within a new business cycle in the US economy. The prosperous and conformist decade of the 1950s stabilized the middle class and directed general social preferences towards the benefits of higher education. European immigration from the inter-war period, and a new wave of immigration at the end of the Second World War enabled the growth of American universities in terms of quality and social influence. Universities recruited the jazz avant-garde audience, and supported other progressive art movements in the 1960s "decade of turbulence, protest, and disillusionment". Thanks to market support, the jazz avant-garde managed to survive free of the influences of state institutions, as John Coltrane's Love Supreme, often listed amongst the greatest jazz albums of all time, was sold in about 500,000 copies by 1970. A similar development, with the emergence of the baby-boom generation in the late 1960s, has contributed to the maturing of European avant-garde audiences and markets (ECM, 1969). The study will also examine avant-garde movements in relation to historical changes in economic and social disparities, from the thirties to the early 1970s.
Tesi sul tema "Jazz – Influence"
1
Williams, Katherine A. "Valuing jazz : cross-cultural comparisons of the classical influence in jazz". Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12622/.
Testo completoAbstract (sommario):
‘Valuing Jazz: Cross-cultural Comparisons of the Classical Influence in Jazz’ re-examines the interaction of Western classical music and jazz, focussing particularly on developments in North America and Britain in the twentieth century. This dissertation acknowledges and builds on the existing connections that have been drawn between classical music and jazz—both those that underscore the musical differences between the two idioms in order to discredit the latter, and those that acknowledge similarities in order to claim cultural legitimacy for jazz. These existing studies almost universally use outdated evaluative criteria, and I seek to redress this by using contemporary classical-music practices and discourses as my point of reference. By adopting a range of methodologies to investigate both intra- and extra-musical trends, this dissertation offers a thorough and balanced exploration of the topic. Each chosen avenue for exploration is explained with reference to parallel developments in North America, in order to provide a context within accepted jazz history and to highlight the different ways in which jazz developed in Britain. The phenomena under consideration include the emergence of a school of jazz criticism and scholarship that adopted systems of analysis and evaluation from established studies of classical music (Ch. 1); physical characteristics of jazz performance venues and the changing styles of audience reception within (Ch. 2); the adoption by jazz composers of ideologies and musical features from classical repertoire (Ch. 3); and the development of educational establishments and pedagogical systems that mirrored those already present in the classical-music world (Ch. 4). Although by no means exhaustive, these chapter topics provide a range of jazz narratives that provide a clear picture of the degree to which the development of jazz in America and Britain has been conditioned by the practices and characteristics of classical music.
2
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.
Testo completoAbstract (sommario):
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-concert, which is strongly influenced by this style, and in a more superficial way other influenced classical clarinet works as well. I show in the very last part of the thesis how this influence is reflected, classifying these elements in harmonic, melodic, written and rhythmical ones.
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Keene, Joel Andrew. "The Influence of Jazz Harmony and Jazz Style on Selected Bass Trombone Solo Literature". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/351.
Testo completoAbstract (sommario):
The development of solo literature for the bass trombone came relatively late in the history of instruments. Though the development of solo literature for this instrument and the birth and development of jazz occurring at the same time in history may be coincidental, the influence of one on the other is undeniable. Because of the large percentage of solo bass trombone literature that is influenced by jazz due to this coincidence, it is necessary that even a classically trained bass trombonist include jazz as a part of the study curriculum. In order to exemplify the influences of jazz harmony and jazz style on bass trombone literature, it was decided that the pieces chosen would be either from the library of standard bass trombone literature or would be an outstanding example for this topic. Then, the stylistic influences must be proved as being derived from the jazz idiom. The same must be shown true for any jazz harmonies discussed. For this topic, the following pieces were chosen: Eugène Bozza's New Orleans composed in 1962, Alec Wilder's Sonata for Bass Trombone and Piano composed in 1969, and Daniel Schnyder's subZERO: Concerto for Bass Trombone and Orchestra composed in 1999.
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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory". Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.
Testo completoAbstract (sommario):
This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory.
Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.
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Tournès, Ludovic. "Jazz en france (1944-1963) : histoire d'une acculturation a l'epoque contemporaine". Versailles-St Quentin en Yvelines, 1997. http://www.theses.fr/1997VERS1002.
Testo completoAbstract (sommario):
Ce travail decrit l'histoire de la penetration du jazz en france et analyse les facteurs qui ont aboutit a son integration dans le paysage culturel hexagonal, concretise notamment par l'apparition de musiciens de jazz francais de renommee internationale des le milieu des annees cinquante. Il montre comment le noyau d'amateurs puristes qui s'est forme dans les annees trente joue un role majeur dans ce processus d'acculturation, identifiant cette musique comme un objet esthetique original (la "musique noire americaine") digne d'interet, et organisant sa diffusion en france, diffusion qui comprend aussi bien l'organisation de concerts avec des musiciens americains que l'enregistrement de disques, ainsi que l'investissement des medias (presse, radio, television) afin de faire connaitre cette nouvelle forme d'art au grand public. Des le milieu des annees cinquante, cette entreprise est sur la voie de la reussite, comme le montre la frequentation des concerts dont le public se compte en dizaines et meme en centaines de milliers, si l'on y inclut le nombre de concerts de jazz prenant place dans les spectacles de music-hall, genre en pleine renaissance au cours des annees cinquante et qui constitue un des agents majeurs de la popularisation - dans tous les sens du terme - du jazz dans la societe francaise, a la fois parce qu'il draine un public nombreux mais aussi parce qu'il est le lieu de rencontre entre le jazz et la musique de variete francaise. Celle-ci va etre renouvelee de fond en comble au cours des annees cinquante par la musique venue des etats-unis, contribuant a une diffusion en profondeur des sonorites du jazz dans le paysage culturel hexagonal. Le processus d'acculturation est en outre replace dans le contexte politique, economique, social et religieux de la france contemporaine, montrant notamment les fondements ideologiques des divers discours sur le jazz et leur traduction sur les formes de sociabilites d'amateurs, sur la gestion de sa diffusion, ainsi que sur l'attitude des amateurs par rapport aux musiciens francais qui emergent sur la scene culturelle a partir de la fin des annees quarante et vont longtemps se heurter a un racisme a rebours de la part du public, avant qu'un timide mouvement de reconnaissance ne se manifeste a la fin des annees cinquanteThis work describes the history of the arrival of jazz in france and its acculturation there resulting in the apparition of a number of famous french jazz musicians in the 1950's. It shows how a group of "jazz addicts" born in the 1930's has played an important part in this process, by considering jazz as an original art (the "negro american music"), writing books about it, organizing a lot of concerts with american musicians, and by using the mass media (press, radio, television) in order to make this new music known by the french public. In the middle of the 1950's, this entreprise has succeeded, as shown by the hundreds of thousands of spectators of jazz concerts. Many of these concerts are part of music-hall shows, which are very popular in france in this period and, for this reason, are an important agent of the popularisation of jazz in france, especially because they enable an encounter between jazz and french songs, which are completely renewed by jazz after world war ii. This encounter enables the penetration of jazz sounds in the french culture. Moreover, the process of acculturation has to be replaced in the political, economical, sociological and religious context of contemporary france, since this thesis shows the ideological roots of jazz critique and its influence on the social history of the "jazz addicts", on the forms of its diffusion in france and on the attitude of the french public toward french musicians
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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/.
Testo completoAbstract (sommario):
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 to combating racism. Next, a brief biography of jazz harp forerunners Casper Reardon and Adele Girard precedes a comparative analysis of Reardon's "Aint' Misbehavin" with Ashby's "Soft Winds" and a comparative analysis of Girard's "Harp Boogie" with Ashby's "Blues for Mr. K." Finally, myriad examples of current musicians covering and sampling her work confirm the paramount and lasting influence of Dorothy Ashby's music.
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Stiegler, Morgen. "African experience on American shores influence of Native American contact on the development of jazz /". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1244856703.
Testo completo
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Dovel, Jason. "The influence of jazz on the solo trumpet compositions of Eugène Bozza". Recital, recorded Apr. 17, 2006, in digital collections. Access restricted to the University of North Texas campus. Recital, recorded Oct. 16, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5186.
Testo completoAbstract (sommario):
Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 17, 2006, Oct. 16, 2006, Feb. 26, 2007, and Oct. 22, 2007. Includes bibliographical references (p. 56-58).
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Aldag, Daniel J. "The influence of jazz on timbre in selected compositions for solo trombone". Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/aldag%5Fdaniel/index.htm.
Testo completo
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Dovel, Jason. "The Influence of Jazz on the Solo Trumpet Compositions of Eugène Bozza". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5186/.
Testo completoAbstract (sommario):
This paper investigates the influence of jazz on the nine solo trumpet compositions of the French composer Eugène Bozza (1905-1991). Bozza, like many other French composers in the first half of the 20th century, combines traditional elements of western European art music with innovations of American popular music. While Bozza holds a prominent role as a composer of solo trumpet literature in the mid-20th century, little has been written about the influence of jazz in his works. This paper traces the influences of American jazz upon French composers and analyzes the elements of jazz within Bozza's compositions for solo trumpet by comparing them to conventions employed by jazz composers.
Libri sul tema "Jazz – Influence"
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Otto, Werner. The Latin influence on jazz. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1992.
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Smet, Jean-Pierre de. New Orleans, de hartslag van de jazz. Berchem: EPO, 2007.
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3
The blue moment: Miles Davis's Kind of blue and the remaking of modern music. London: Faber and Faber, 2009.
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The blue moment: Miles Davis's Kind of blue and the remaking of modern music. New York: W. W. Norton, 2010.
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Solis, Gabriel. Monk's music: Thelonious Monk and jazz history in the making. Berkeley: University of California Press, 2008.
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Richard, Williams. The blue moment: Miles Davis's Kind of blue and the remaking of modern music. New York: W. W. Norton, 2010.
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Williams, Richard. The blue moment: Miles Davis's Kind of blue and the remaking of modern music. New York: W. W. Norton, 2010.
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Gioia, Ted. The jazz standards: A guide to the repertoire. Oxford: Oxford University Press, 2012.
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Le blues dans le jazz instrumental des années 1950 et 1960. Paris: L'Harmattan, 2013.
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Emancipating pragmatism: Emerson, jazz, and experimental writing. Tuscaloosa: University of Alabama Press, 2004.
Cerca il testo completoCapitoli di libri sul tema "Jazz – Influence"
1
Levin, Floyd. "The Influence of New Orleans Musicians on Classic Jazz". In Classic Jazz, 177–217. University of California Press, 2000. http://dx.doi.org/10.1525/california/9780520213609.003.0005.
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"4. THE INFLUENCE OF NEW ORLEANS MUSICIANS ON CLASSIC JAZZ". In Classic Jazz, 177–217. University of California Press, 2019. http://dx.doi.org/10.1525/9780520928985-009.
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Marlow, Eugene. "The Influence of Early Twentieth-Century Technology". In Jazz in China, 21–31. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0003.
Testo completoAbstract (sommario):
The superior war-making technology of the Western colonial powers—the steam-driven warship and cannon—made the difference between China prevailing and its defeat during the Opium Wars. It resulted in the colonial powers controlling Shanghai, tantamount to controlling China. In turn, the colonial powers brought their culture with them to Shanghai, which included jazz in the first quarter of the twentieth century. Within a couple of decades, jazz became not only the music of Shanghai but was global. This chapter asks how jazz traveled halfway around the world to China (and in the other direction, to Europe) so quickly? And how did the non-American musicians in Shanghai (Russians, Filipinos, and Chinese) learn to play the music for dance hall purposes? Transportation and communications technologies of the early twentieth century—the steamship, the locomotive, the gramophone, and early film—also were major influences in bringing jazz to China's shores.
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Washburne, Christopher. "Caribbean and Latin American Reverberations and the First Birth of Latin Jazz". In Latin Jazz, 36–63. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0003.
Testo completoAbstract (sommario):
This chapter documents the strong ties of the Caribbean and Latin America to the formative period of jazz and how that influence reverberated throughout the twentieth century. It argues that the strong foundational influence of Caribbean and Latin American music on pre-jazz styles makes the birth of jazz synchronous with the birth of Latin jazz. By building on the work of a number of scholars who have recently begun to tackle this complexity through historical studies of immigration patterns and the social and political development of New Orleans throughout the 1700s and 1800s and by conducting a “sonic archeology” of jazz styles throughout the twentieth century, reverberations of jazz’s pre-history are uncovered and shown to resound loudly. Along with a discussion of the social history of New Orleans, the focus is on the function of certain rhythmic cells in the jazz repertoire that are most typically associated with Caribbean and Latin American styles.
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Marlow, Eugene. "The Influence of Mid-Twentieth-Century Technologies on the Expansion of Jazz in China". In Jazz in China, 91–101. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0009.
Testo completoAbstract (sommario):
This chapter discusses jazz in China in the second half of the twentieth century. During this period, jazz traveled to China in one of two ways (or both): (1) electronically by several means; and (2) by air, that is, by plane. All manner of electronic and filmic media—such as radio, television, movies, CDs, DVDs, satellites, teleconferencing, computers, and the Internet—and transcontinental modes of transportation such as the plane supplanted the steamship, the locomotive, the gramophone, and early movies as technologies influenced the growth of jazz in China. The characteristics of the above-mentioned technologies cannot be underestimated in terms of their cultural impact, not only on the spread of jazz globally, but also on the spread of information and knowledge generally around the world.
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Lowney, John. "“Harlem Jazzing”". In Jazz Internationalism. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041334.003.0002.
Testo completoAbstract (sommario):
The first chapter concentrates on the fiction of Claude McKay, which explicitly locates jazz expression within intellectual debates about black internationalism. Beginning with consideration of McKay’s Marxist theorizing of black music, this chapter emphasizes the cultural politics of McKay’s first novel, Home to Harlem, which represents “Jazz Age” Harlem as a site of African diasporic interculturalism. Banjo, which had an enormous influence on the Francophone négritude movement in West Africa and the Caribbean, similarly defines Marseilles as an international site of displaced black migrant workers whose common language is the blues and jazz. As novels that reconsider the cultural politics of the Harlem Renaissance from a radical black internationalist perspective, Home to Harlem and Banjo interrogate the commercialization of black cultural expression as they explore the critical possibilities of jazz for the marginalized perspectives of black workers, including cultural workers.
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Marlow, Eugene. "Martin Fleischer, Godfather of Jazz, and Liu Yuan, So-Called Father of Jazz in Early Post-Mao Beijing". In Jazz in China, 118–25. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0011.
Testo completoAbstract (sommario):
This chapter considers the influence of Germans on the evolution of jazz in China. This historical thread begins with the involvement of German military during the Opium Wars of the nineteenth century. And as previous chapters on the “influence of technology” have indicated, Germans are prominent—with the evolution of the phonograph and audiotape and the jet plane. With a significant German population resident in China for one reason or another it was almost inevitable that a German would intersect with China's nascent cadre of indigenous musicians interested in jazz. In Beijing, that person was Martin Fleischer, former Cultural Attaché to the German Embassy, Beijing.
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Washburne, Christopher. "“More Cowbell”". In Latin Jazz, 141–74. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0007.
Testo completoAbstract (sommario):
This chapter is an ethnographic study of New York–based Latin jazz in the twenty-first century. It uses five prominent bandleaders actively shaping the future of Latin jazz as case studies—Eddie Palmieri, Michele Rosewoman, Carlos Henríquez, Miguel Zenón, and Bobby Sanabria—demonstrating how the historical specificities and developments discussed in the preceding chapters continue to reverberate and inform the music made in the present. Their voices and perspectives demonstrate how each of these musicians adopts unique strategies to navigate the terrain of inequity and adversity. They represent significant trends that will assert much influence on generations of musicians to come. Their combined perspectives suggest that Latin jazz is not, nor ever should it have been, an “other jazz.” Its presence can no longer be silenced or erased. All of the music and musicians associated with jazz deserve to be fully embraced and recognized.
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Phillips, Damon J. "Pulling It Together and Stretching It Beyond". In Shaping Jazz. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691150888.003.0008.
Testo completoAbstract (sommario):
This book has shown which tunes had disproportionate long-run appeal based on social congruence, which gave a dynamic structure to jazz as a market category. In particular, it has examined the role of geography and organizations in determining which of those “million” have shaped jazz through their ascension into the discographical canon of recordings. This concluding chapter considers the implications of the book's findings for a conceptual model of product appeal in emerging markets in which meaning and value are dynamically constructed. It first draws out generalizations and scope conditions of the overall results before discussing contexts outside cultural markets where the book's ideas should be informative, such as the markets for nanotechnology, green technology, and software. Finally, it describes the market for bottled water and emphasizes the ways that the marketing and packaging of different bottled waters influence our notion of what is good (or appealing).
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Washburne, Christopher. "The Second Birth of Latin Jazz". In Latin Jazz, 64–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0004.
Testo completoAbstract (sommario):
This chapter examines “The Peanut Vendor” as a case study and a lens into the New York City of the 1930s. The role of the popular music industry in promoting “exotica” and “otherness” and how these practices established Cuban music and musicians as the domineering influence in mid-century Latin and jazz mixings are documented. The role of interculturality in 1930s New York jazz is explored, challenging the traditional tropes found in historical narratives that posit jazz as a purely African American or North American music. A closer look at the contextual factors that led to these exchanges calls for a rethinking of jazz as a transnational and global music. This chapter exposes the interracial, interethnic, international, and intercultural complexities and processes that undergird jazz performance practice and that serve as the primary driving forces in the evolution of the music. What becomes clear is that Caribbean and Latin American music and musicians have played significant roles in ways yet to be fully documented and understood.
Atti di convegni sul tema "Jazz – Influence"
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Maekawa, Megumi, Kazuhiko Takahashi e Masafumi Hashimoto. "Remarks on computational emotion classification from physiological signal - Evaluation of how jazz music chord progression influences emotion". In 2012 12th International Conference on Intelligent Systems Design and Applications (ISDA). IEEE, 2012. http://dx.doi.org/10.1109/isda.2012.6416670.
Testo completo
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Weinberger, Maor, e Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]". In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.
Testo completoAbstract (sommario):
Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.