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Artykuły w czasopismach na temat „Jazz Analysis”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 27 stycznia 2023

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1

Blair, Andrew R., and John C. Camillus. "THE JAZZ BUSINESS: An Analysis of the Jazz Recording Industry." International Jazz Archive Journal 03, no. 4 (April 1, 2012): 18–44. http://dx.doi.org/10.2307/44759225.

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Rice, Alan J. "Jazzing It Up A Storm: The Execution and Meaning of Toni Morrison's Jazzy Prose Style." Journal of American Studies 28, no. 3 (December 1994): 423–32. http://dx.doi.org/10.1017/s0021875800027663.

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The publication of Toni Morrison's new novel Jazz with its insistent jazzy themes and rhythms will have concentrated the minds of critics on the relationship of her work to America's most important indigenous artistic form, jazz music. However, in their headlong rush to foreground the impact of jazz on Toni Morrison's latest novel critics should be wary of isolating this novel as her only jazz-influenced work. All of her novels have been informed by the rhythms and cadences of a black musical tradition and in this article I want to stress the centrality of jazz music stylistically to her whole

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3

Rothman, K. J. "Longevity of jazz musicians: flawed analysis." American Journal of Public Health 82, no. 5 (May 1992): 761. http://dx.doi.org/10.2105/ajph.82.5.761.

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4

Levinson, Jerrold. "Jazz Vocal Interpretation: A Philosophical Analysis." Journal of Aesthetics and Art Criticism 71, no. 1 (February 2013): 35–43. http://dx.doi.org/10.1111/j.1540-6245.2012.01539.x.

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5

Viljoen, Nicol. "Harmonic classification, analysis and interpretation in jazz." Ars Nova 26, no. 1 (January 1994): 43–60. http://dx.doi.org/10.1080/03796489408566517.

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6

Sawyer, Keith. "Improvisational creativity: An analysis of jazz performance." Creativity Research Journal 5, no. 3 (January 1992): 253–63. http://dx.doi.org/10.1080/10400419209534439.

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7

Choi, Andrew. "Jazz Harmonic Analysis as Optimal Tonality Segmentation." Computer Music Journal 35, no. 2 (June 2011): 49–66. http://dx.doi.org/10.1162/comj_a_00056.

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8

GLEISER, PABLO M., and LEON DANON. "COMMUNITY STRUCTURE IN JAZZ." Advances in Complex Systems 06, no. 04 (December 2003): 565–73. http://dx.doi.org/10.1142/s0219525903001067.

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Using a database of jazz recordings we study the collaboration network of jazz musicians. We define the network at two different levels. First we study the collaboration network between individuals, where two musicians are connected if they have played in the same band. Then we consider the collaboration between bands, where two bands are connected if they have a musician in common. The community structure analysis reveals that these constructions capture essential ingredients of the social interactions between jazz musicians. We observe correlations between recording locations, racial segrega

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9

Sanchirico, Andrew. "Is Conventional Jazz History Distorted by Myths?" Journal of Jazz Studies 8, no. 1 (July 17, 2012): 55. http://dx.doi.org/10.14713/jjs.v8i1.30.

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<p>A recent book by jazz musician Randall Sandke strongly criticizes jazz writers and scholars for presenting a biased and misleading picture of jazz history. His basic thesis is that, because of ideology, the standard jazz texts exaggerate the importance of African American culture in the development of jazz, thereby creating a mythology of jazz. This article examines one aspect of Sandke’s thesis: his assertion that the myths created by earlier jazz writers are being perpetuated by present day writers. A content analysis of jazz history books published since 1990 indicates that Sandke’

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10

May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (October 2003): 245–58. http://dx.doi.org/10.2307/3345377.

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The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only o

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11

Bălan, Florin. "Fundamental Analysis of Chick Corea’s Improvisation in Spain (1972)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 99–110. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.07.

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"Modern jazz can be considered an equal part of modern music, owing to the numerous experiments, at times considered strange or not really agreed by the audience. When talking about modern musical life and the possibilities for making music in a proper manner, no doubt that the value and genius of composers like Wolfgang Amadeus Mozart or Ludwig van Beethoven must be recognized. However, one must also realize that modern life, with its modern, contemporary music is also needed. The great jazz saxophonist, Charlie Parker considered improvisation the middle of the earth, the place where, if only

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12

Yan, Alycia Fong, Richard Smith, Benedicte Vanwanseele, and Claire Hiller. "Mechanics of Jazz Shoes and Their Effect on Pointing in Child Dancers." Journal of Applied Biomechanics 28, no. 3 (July 2012): 242–48. http://dx.doi.org/10.1123/jab.28.3.242.

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There has been little scientific investigation of the impact of dance shoes on foot motion or dance injuries. The pointed (plantar-flexed) foot is a fundamental component of both the technical requirements and the traditional aesthetic of ballet and jazz dancing. The aims of this study were to quantify the externally observed angle of plantar flexion in various jazz shoes compared with barefoot and to compare the sagittal plane bending stiffness of the various jazz shoes. Sixteen female recreational child dancers were recruited for 3D motion analysis of active plantar flexion. The jazz shoes t

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13

Piecek, Monika, and Angelika Güsewell. "Jazz education in Western Switzerland in the 1970s and 1980s." European Journal of Musicology 16, no. 1 (December 31, 2017): 60–80. http://dx.doi.org/10.5450/ejm.2017.16.5779.

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This article aims to complement the understanding of the implementation, expansion, and formalisation of jazz education as well as of how jazz was learnt and taught in the 1970s and 1980s in the Western, French-speaking, part of Switzerland. Focussing on this specific geographical context, it takes a close look at the transition from traditional, informal learning to what are considered as more formal realms of learning in jazz education. Drawing both on documentary analysis and in-depth, semi-structured interviews conducted with former students, directors, and teachers of the first jazz schoo

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14

Banks, Mark. "MacIntyre, Bourdieu and the practice of jazz." Popular Music 31, no. 1 (January 2012): 69–86. http://dx.doi.org/10.1017/s0261143011000468.

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AbstractThis article offers a sociological account of the labour of jazz musicians. The first part is concerned with elaborating a theory of jazz work based on Alasdair MacIntyre's notion of social practices. Applying this theory to recent empirical work with British jazz musicians, the article reveals how the virtuous pursuit of specific ‘internal goods’ is judged to be particularly prominent in jazz, suggesting that it might constitute an ethical practice in MacIntyrean terms. While MacIntyre's theory is argued to offer a congenial framework for an analysis of jazz, it is then compared and c

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15

Gusejnova, Dina. "Jazz Anxiety and the European Fear of Cultural Change: Towards a Transnational History of a Political Emotion." Cultural History 5, no. 1 (April 2016): 26–50. http://dx.doi.org/10.3366/cult.2016.0108.

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From the interwar period onwards, music now known as jazz transcended geographic and political boundaries thanks to increased mobility and new media. Commonly associated with American mass culture, jazz music and jazz musicianship evoked strong emotions, ranging from love to hate. In this paper, feelings about jazz as a new form of cultural anxiety are the main subject of analysis. By looking at jazz as an emblem of different kinds of fear of the non-European, we can reconstruct the changing perception of Europe's internal frontiers from the dissolution of Europe's continental empires to the e

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16

Larson, Steve. "Schenkerian Analysis of Modern Jazz: Questions about Method." Music Theory Spectrum 20, no. 2 (October 1998): 209–41. http://dx.doi.org/10.2307/746048.

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17

Larson, Steve. "Schenkerian Analysis of Modern Jazz: Questions about Method." Music Theory Spectrum 20, no. 2 (October 1998): 209–41. http://dx.doi.org/10.1525/mts.1998.20.2.02a00020.

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18

Veillon, Joshua, Juliette W. Ioup, and Michael White. "Signal analysis of New Orleans jazz clarinet sounds." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2605. http://dx.doi.org/10.1121/1.5014533.

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19

Kenny, Barry. "Jazz Analysis as Cultural lmperative (and other urban myths): a Critical Overview of Jazz Analysis and its Relationship to Pedagogy." Research Studies in Music Education 13, no. 1 (December 1999): 56–80. http://dx.doi.org/10.1177/1321103x9901300106.

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20

Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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21

Smith, Derek T. "Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 217–35. http://dx.doi.org/10.1177/0022429409343549.

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The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record two improvisations accompanied by an Aebersold play-along compact disc . Sixty-three adjudicators evaluated the 12 improvisations using the WJIES and the Instrumental Jazz Improvisation Evaluation Measure. Reliability was good,with alpha values ranging

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22

Palmer, C. Michael. "Instrumental Jazz Improvisation Development." Journal of Research in Music Education 64, no. 3 (August 23, 2016): 360–78. http://dx.doi.org/10.1177/0022429416664897.

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The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants ( N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were collected using four researcher-designed instruments: (a) Participant Improvisation Experience Survey (PIES), (b) Improvisation Achievement Performance Measure (IAPM), (c) Aural Imitation Measure (AIM), and (d) the Jazz Theory Measure (JTM). Results ind

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23

Johnson-Laird, P. N. "How Jazz Musicians Improvise." Music Perception 19, no. 3 (2002): 415–42. http://dx.doi.org/10.1525/mp.2002.19.3.415.

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This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new m

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24

Mizoguchi, Yasuaki, Tsukasa Urakawa, and Hitoshi Kurabayashi. "Safer return to jazz dance instruction after simultaneous bilateral total hip arthroplasty." BMJ Case Reports 14, no. 7 (July 2021): e243214. http://dx.doi.org/10.1136/bcr-2021-243214.

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To describe the case of a 48-year-old Japanese female patient with more than two decades of experience in jazz dance instructor returning to work after simultaneous bilateral total hip arthroplasty (SBTHA). We provided her with a tailored postoperative physical therapy programme considering her preoperative activity level and skills using three-dimensional motion analysis for guidance. The patient returned to jazz dance instruction 8 months after undergoing SBTHA, and her disease-specific quality of life assessment score at 1-year postsurgery was almost perfect. Use of three-dimensional motion

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25

Ciorba, Charles R., and Brian E. Russell. "A Proposed Model of Jazz Theory Knowledge Acquisition." Journal of Research in Music Education 62, no. 3 (September 12, 2014): 291–301. http://dx.doi.org/10.1177/0022429414542979.

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The purpose of this study was to test a hypothesized model that proposes a causal relationship between motivation and academic achievement on the acquisition of jazz theory knowledge. A reliability analysis of the latent variables ranged from .92 to .94. Confirmatory factor analyses of the motivation (standardized root mean square residual [SRMR] = .067) and jazz theory (SRMR = .063) measures indicated a good fit of the predicted model to the observed data. Results of the latent path model indicated good fit (χ2 = 20.08, p = .692, df = 24, N = 102) and large, positive, and statistically signif

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26

Coggiola, John C. "The Effect of Conceptual Advancement in Jazz Music Selections and Jazz Experience on Musicians' Aesthetic Response." Journal of Research in Music Education 52, no. 1 (April 2004): 29–42. http://dx.doi.org/10.2307/3345523.

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This study is an investigation of what musicians consider to be their aesthetic experience with jazz music selections that vary in level of conceptual advancement (melodic complexity during improvised solos). Music major participants (N = 128) were assigned to either the jazz musician (n = 64) or nonjazz musician (n = 64) group. Data were gathered as participants manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate the magnitude of their aesthetic responses as they listened to four audio selections. Written responses were collected following each session via a que

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27

Thorsen, Hilary, and M. Pattuelli. "Designing a Crowdsourcing Tool to Analyze Relationships Among Jazz Musicians: The Case of Linked Jazz 52nd Street." Proceedings of the AAAI Conference on Human Computation and Crowdsourcing 1 (November 3, 2013): 72–73. http://dx.doi.org/10.1609/hcomp.v1i1.13101.

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We discuss the design of Linked Jazz 52nd Street, a crowdsourcing tool using linked data technology to build a social network of jazz musicians through the analysis of their personal and professional relationships.

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28

Morozova, Ekaterina V. "Jazz Terminology in the English-Language Media Discourse: the First Half of the 20th Century." Вестник Пермского университета. Российская и зарубежная филология 14, no. 2 (2022): 42–53. http://dx.doi.org/10.17072/2073-6681-2022-2-42-53.

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The article is devoted to the formation of the terminology of jazz as a musical genre in the English-language media discourse in the first half of the 20th century. Modern studies of terminology show that terms are associated with special vocabulary and professional communication, and can transfer to terminology from the common language. Professional vocabulary, in turn, belongs to special vocabulary along with terms, but the former can also become the latter in the absence of a terminological equivalent. In art terminology, including musical terminology, a large number of professionalisms are

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29

Shevchenko, Anastasiia, and Olga Lobova. "Methodology of the formation of the teen-agers’ vocal and jazz culture at classes on pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 80–87. http://dx.doi.org/10.24195/2617-6688-2019-2-12.

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The importance of the development of individual’s general culture as a factor of his / her harmonious education stipulates the relevance of the study. The purpose of the article is to describe the methods enabling the formation of teen-agers’ vocal and jazz culture at classes on pop singing (in musical schools and during extra-class activities in institutions of general secondary education). Methods of systematization and generalization of scientific sources, theoretical modelling, pedagogical experiment and so on have been used to achieve this goal. The scientific approaches (systemic-structu

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30

Goodrich, Andrew. "Peer Mentoring in a High School Jazz Ensemble." Journal of Research in Music Education 55, no. 2 (July 2007): 94–114. http://dx.doi.org/10.1177/002242940705500202.

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The use of peer mentoring in a successful high school jazz band was explored during one academic year of instruction using ethnographic techniques. Participants included primary informants (student jazz band members, director, assistant director, adult mentors) and secondary informants (guidance counselor, principal, parents, nonjazz band member students). Data analysis revealed that peer mentoring contributed to the success of a high school jazz band. Five themes emerged: (a) mentoring from the adult perspective, (b) peer mentoring for musicianship, (c) mentoring in rehearsals, (d) mentoring

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31

Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.

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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand –

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32

Shim, Eunmi. "Analysis of Jazz: A Comprehensive Approach by Laurent Cugny." Notes 77, no. 3 (2021): 432–35. http://dx.doi.org/10.1353/not.2021.0013.

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Frieler, Klaus, and Wolf-Georg Zaddach. "Evaluating an Analysis-by-Synthesis Model for Jazz Improvisation." Transactions of the International Society for Music Information Retrieval 5, no. 1 (February 3, 2022): 20. http://dx.doi.org/10.5334/tismir.87.

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Martin, Henry. "Jazz Theory and Analysis. An Introduction and Brief Bibliography." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 1–2, no. 2/2–3 (2005): 169–71. http://dx.doi.org/10.31751/523.

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Balke, Stefan, Julian Reck, Christof Weiß, Jakob Abeßer, and Meinard Müller. "JSD: A Dataset for Structure Analysis in Jazz Music." Transactions of the International Society for Music Information Retrieval 5, no. 1 (2022): 156–72. http://dx.doi.org/10.5334/tismir.131.

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Mazlan, Chamil Arkhasa Nikko, and Mohd Hassan Abdullah. "UTILIZING PRAGMATISM PRINCIPLES IN LEARNING JAZZ GUITAR REHARMONIZATION TECHNIQUE USING MALAY ASLI SONG." International Journal of Applied and Creative Arts 3, no. 1 (June 30, 2020): 54–66. http://dx.doi.org/10.33736/ijaca.2188.2020.

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This article proposes a pragmatism approach useful in explaining the logic of learning jazz guitar reharmonization techniques. Music and practices are both unseparated and unified in the field of music education. This poses challenges for traditional and western music consolidation because reharmonization technique is only known in western music repertoires while traditional music normally utilizes old-style repertoires. Some practitioners rooted in dogmatic thinking still maintain authenticity and traditions. In this study, our data is gathered using qualitative content analysis. We then iden

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37

Brown, Michele D., Turgut Var, and Seokho Lee. "Messina Hof Wine and Jazz Festival: An Economic Impact Analysis." Tourism Economics 8, no. 3 (September 2002): 273–79. http://dx.doi.org/10.5367/000000002101298115.

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The purpose of the study was to estimate the economic impact on Brazos County, Texas, of a proposed weekend Wine and Jazz Festival to be produced by Messina Hof Winery. An economic impact analysis was performed using IMPLAN PRO software. The 1998 value of the US dollar and average weekend festival visitor expenditure data from Messina Hof Winery were used as inputs into the model. The results indicated that this single event would generate $892,981 in total sales output, $324,942 in personal income and the equivalent of 21.8 jobs. The conclusion was that the weekend Wine and Jazz Festival prop

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38

Lie, Siv B. "Genre, Ethnoracial Alterity, and the Genesis of jazz manouche." Journal of the American Musicological Society 72, no. 3 (2019): 665–718. http://dx.doi.org/10.1525/jams.2019.72.3.665.

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Based on the music of legendary guitarist Django Reinhardt, jazz manouche is a popular genre that emerged during the late twentieth century. This article examines the historical development of jazz manouche in relation to ideologies about ethnoracial identity in France. Jazz manouche is strongly associated with French Manouches, the subgroup of Romanies (“Gypsies”) to which Reinhardt belonged. In the decades following Reinhardt's death in 1953, some Manouches adopted his music as a community practice. Simultaneously, critics, promoters, and activists extolled the putative ethnoracial character

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Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.

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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland &ldquo;Jass&rdquo; Band from New Orleans is known in history as the first jazz record. There&rsquo;s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was no

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40

Havas, Ádám. "The logic of distinctions in the Hungarian jazz field: a case study." Popular Music 39, no. 3-4 (December 2020): 619–35. http://dx.doi.org/10.1017/s0261143020000537.

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AbstractThis study aims to make the contemporary Hungarian jazz field the focus of a sociological investigation, based on a critical reinterpretation of Bourdieu's relational theory of artistic fields. It aims to grasp the logic of symbolic distinctions by analysing the free/mainstream dichotomy. This dichotomy of historically constituted poles is understood as a system of structuring oppositions that play a decisive role in the position-takings and prestige-construction of jazz musicians. The analysis of qualitative data shows how different evaluations and interpretations of shared musical re

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41

Feige, Daniel Martin. "Jazz als künstlerische Musik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.

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Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstl

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42

Błażkiewicz, Michalina. "Evaluation of Geometric Attractor Structure and Recurrence Analysis in Professional Dancers." Entropy 24, no. 9 (September 16, 2022): 1310. http://dx.doi.org/10.3390/e24091310.

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Background: Human motor systems contain nonlinear features. The purpose of this study was to evaluate the geometric structure of attractors and analyze recurrence in two different pirouettes (jazz and classic) performed by 15 professional dancers. Methods: The kinematics of the body’s center of mass (CoM) and knee of the supporting leg (LKNE) during the pirouette were measured using the Vicon system. A time series of selected points were resampled, normalized, and randomly reordered. Then, every second time series was flipped to be combined with other time series and make a long time series ou

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Zhang, Qi. "Lester Young’s performance poetics and performance style: the experience of analysis." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 128–42. http://dx.doi.org/10.34064/khnum1-61.07.

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The research focuses on the system of performance resources of expression of a jazz musician, which received the title of “performance poetics” and “performance style”. L. Young’s creative work has repeatedly been the subject of research, in particularly, in publications by L. Porter (1981) and D. Daniels (1985; 2002; 2005), one of the outstanding biographers of the jazz master. D. Gelly (2007) includes L. Young into the pantheon of the most influential jazz performers reflecting the components of his performance style. J. P. De Lucia (2017) calls L. Young a key figure at the beginning of swin

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Corcoran, Christopher, and Klaus Frieler. "Playing It Straight." Music Perception 38, no. 4 (April 1, 2021): 372–85. http://dx.doi.org/10.1525/mp.2021.38.4.372.

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The most recognizable features of the jazz phrasing style known as “swing” is the articulation of tactus beat subdivisions into long-short patterns (known as “swing eighths”). The subdivisions are traditionally assumed to form a 2:1 beat-upbeat ratio (BUR); however, several smaller case studies have suggested that the 2:1 BUR is a gross oversimplification. Here we offer a more conclusive approach to the issue, offering a corpus analysis of 456 jazz solos using the Weimar Jazz Database. Results indicate that most jazz soloists tend to play with only slightly uneven swing eighths (BUR = 1.3:1),

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Mazlan, Chamil Arkhasa Nikko. "Utilizing Pragmatism Approach in Learning Jazz Guitar Reharmonization Technique using Malay Asli Song." JURNAL SENI MUSIK 9, no. 1 (June 18, 2020): 50–57. http://dx.doi.org/10.15294/jsm.v9i1.37376.

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Details of developing jazz guitar reharmonization learning book using Malay Asli song will not discuss here, however, this article divulges pragmatism approach that can be transcending in explaining logic between learning jazz guitar reharmonization techniques using Malay Asli Song. Although music is a universal language, traditional music and western music educators do not come to an agreement diffusing learning western music elements such in traditional music or vice versa. As a result, reharmonization technique only become known on western music repertoires. While traditional music practiti

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Watson, Kevin E. "A Comparative Analysis of Method Books for Class Jazz Instruction." Update: Applications of Research in Music Education 36, no. 1 (February 16, 2017): 5–11. http://dx.doi.org/10.1177/8755123317692640.

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The purpose of this study was to analyze and compare instructional topics and teaching approaches included in selected class method books for jazz pedagogy through content analysis methodology. Frequency counts for the number of pages devoted to each defined instructional content category were compiled and percentages of pages allotted to each category were calculated. Analyses of supplementary media consisted of noting the duration in seconds that each excerpt devoted to illustrating concepts in each instructional content category. Results indicated that the largest amount of content was devo

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Dirgualam, Oki, Dadang Suganda, Buky Wibawa, and Kunto Sufianto. "ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER." Paradigma: Jurnal Kajian Budaya 11, no. 1 (April 29, 2021): 99. http://dx.doi.org/10.17510/paradigma.v11i1.420.

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<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a des

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Devroop, Karendra. "The Occupational Aspirations and Expectations of College Students Majoring in Jazz Studies." Journal of Research in Music Education 59, no. 4 (November 15, 2011): 393–405. http://dx.doi.org/10.1177/0022429411424464.

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This study was designed to investigate the occupational aspirations and occupational expectations of college students majoring in jazz studies in the United States. Participants included the population of jazz studies majors ( N = 211) at a large mid-southern university known for its prestigious and internationally recognized jazz program. A response rate of 85% was obtained. Occupational aspirations and occupational expectations were measured on the Jazz Occupational Prestige Index. Results indicated that students aspired to more prestigious occupations but expected to be employed in occupati

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Witkin, Robert W. "Why Did Adorno “Hate” Jazz?" Sociological Theory 18, no. 1 (March 2000): 145–70. http://dx.doi.org/10.1111/0735-2751.00092.

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Adorno's jazz essays have attracted considerable notoriety not only for their negative and dismissive evaluation of jazz as music but for their outright dismissal of all the claims made on behalf of jazz by its exponents and admirers, even of claims concerning the black origins of jazz music. This paper offers a critical exposition of Adorno's views on jazz and outlines an alternative theory of the culture industry as the basis of a critique of Adorno's critical theory. Adorno's arguments are discussed in the context of his wider theoretical commitment to a model of structuration—in both music

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Keller, Robert, Alexandra Schofield, August Toman-Yih, Zachary Merritt, and John Elliott. "Automating the Explanation of Jazz Chord Progressions Using Idiomatic Analysis." Computer Music Journal 37, no. 4 (December 2013): 54–69. http://dx.doi.org/10.1162/comj_a_00201.

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Musicians interested in improvising melodies often benefit from the ability to analyze chord progressions for tonality and from possession of an understanding of a range of idiomatic chord progressions. We describe automated analysis using an approach to representing idioms known as “bricks,” which can also be used in analysis of tonality. The brick nomenclature is attributed to Conrad Cork's “Lego Bricks” approach, as extended by John Elliott. We demonstrate a semi-automatic grammatical approach to analysis of chord sequences and sketch its implementation, which is available in the form of fr

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