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Artykuły w czasopismach na temat „Jazz research”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 20 lutego 2023

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1

Oldfather, Penny, and Jane West. "Qualitative Research as Jazz." Educational Researcher 23, no. 8 (November 1994): 22–26. http://dx.doi.org/10.3102/0013189x023008022.

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Mills, Michael K. "Seeing Jazz - Doing Research." International Journal of Market Research 51, no. 3 (January 2009): 1–16. http://dx.doi.org/10.1177/147078530905100309.

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This paper uses the metaphor of jazz music-making to contribute to the growing literature concerning the need for a more holistic approach to research, and to suggest directions for research implementation. It suggests researchers can work towards an ‘effortless mastery’ of their craft, and posits potential new forms of evaluation criteria useful in evaluating research (and researcher) quality.

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McGowan, James, and Robin Desmeules. "Jazz Research Bibliography (2005–2006)." Journal of Jazz Studies 7, no. 1 (February 28, 2011): 145. http://dx.doi.org/10.14713/jjs.v7i1.8.

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McGowan, James, and Robin Desmeules. "Jazz Research Bibliography (2007–2008)." Journal of Jazz Studies 7, no. 2 (November 16, 2011): 266. http://dx.doi.org/10.14713/jjs.v7i2.16.

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Desmeules, Robin. "Jazz Research Bibliography (2009-2010)." Journal of Jazz Studies 8, no. 1 (July 17, 2012): 105. http://dx.doi.org/10.14713/jjs.v8i1.34.

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Porter, Lewis. "Some Problems in Jazz Research." Black Music Research Journal 8, no. 2 (1988): 195. http://dx.doi.org/10.2307/779352.

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Mordue, Tom, and Noel Dennis. "Performing jazz and the jazz constellation." Marketing Theory 17, no. 2 (February 24, 2017): 241–57. http://dx.doi.org/10.1177/1470593116689756.

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In this article, we explore the arts/market dualism in jazz from a fresh methodological, empirical and theoretical perspective in which post-structuralist thought on performativity, relational space and actor–networks is used to interrogate the ecology of jazz production and consumption we call ‘the jazz constellation’. In this, we trace the positioning(s) and movements of an increasingly well-known jazz musician via an analytic auto-ethnographical account of being and becoming an authentic jazz musician in the United Kingdom. By this, we give a rich, first-hand account of how the jazz constel

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West, Chad. "What Research Reveals About School Jazz Education." Update: Applications of Research in Music Education 33, no. 2 (September 10, 2014): 34–40. http://dx.doi.org/10.1177/8755123314547825.

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Suwannabhum, Tayakorn, and Kyle Fyr. "Jazz History in Thailand: From Profession to Music Education." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 83–92. http://dx.doi.org/10.30819/aemr.9-6.

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This qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were ente

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Suryati, Suryati. "Pemanfaatan YouTube sebagai Media Pembelajaran Vokal Pop Jazz di Prodi Pendidikan Musik Institut Seni Indonesia Yogyakarta." Resital: Jurnal Seni Pertunjukan 22, no. 2 (December 22, 2021): 117–26. http://dx.doi.org/10.24821/resital.v22i2.6040.

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Utilizing Youtube as a Learning Media for Pop-Jazz Vocal Course at Music Education Study Program of Institut Seni Indonesia Yogyakarta. The research aims to reveal the learning process of the Pop-Jazz vocal course and the utilization of youtube as an accompaniment in learning the Pop- Jazz vocal course. This research is expected to provide solutions for students who face problems in the learning process of the Pop-Jazz vocal course during the covid-19 pandemic. It is qualitative research with a case study approach. Data collection techniques were carried out through direct observation during t

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11

Vivian, Yovi Irvan. "KARAKTERISKTIK MUSIKAL PADA ALBUM KOMPILASI KARYA KOMUNITAS JAZZ JOGJA." Journal of Culture, Arts, Literature, and Linguistics (CaLLs) 1, no. 2 (February 24, 2017): 20. http://dx.doi.org/10.30872/calls.v1i2.689.

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The musician and jazz musical lovers in Yogyakarta are stated in a music group named Jogja Jazz Community. Jogja Jazz Community community often presents the shows that are showed every week (Jazz Mben Senen and Etawa Jazz) and every year (NgayogJazz). This community existence isn’t only performed in live concert, but also by producing compilation album every year. Compilation album consists of some projects which participate in it. This research focuses on compilation album entitled Jazz Basuki Mawa Bea (2009) and Jazz

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12

Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (December 31, 2017): 45–59. http://dx.doi.org/10.5450/ejm.2017.16.5778.

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In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and

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Walker, Linda Miller. "What the Research Says: Jazz in General Music." Soundings (Reston, VA) 6, no. 2 (January 1993): 42–44. http://dx.doi.org/10.1177/104837139300600212.

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Wishnoebroto, Wishnoebroto. "Globalization Goes Local: Nationalism in Indonesian Jazz." Lingua Cultura 4, no. 2 (November 30, 2010): 123. http://dx.doi.org/10.21512/lc.v4i2.358.

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Article presented how Jazz, as a product of American popular culture, can be very local in Indonesia. Nationalism, in this case, refers to how Indonesian jazz artists translate and create a kind of ‘dialogue’ between jazz and local Indonesian culture. The study used library research by finding what values that jazz had in order to create such dialogue, and how Indonesian nationalism could be transformed in jazz. The evolution of Jazz in Indonesia and the attitude of Indonesian jazz audience were discussed to see the position of jazz in Indonesian popular culture mainstream. It can be concluded

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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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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival." European Journal of Cultural Studies 20, no. 2 (April 27, 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.

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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)

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Coss, Roger G. "Descriptions of expert jazz educators’ experiences teaching improvisation." International Journal of Music Education 36, no. 4 (June 11, 2018): 521–32. http://dx.doi.org/10.1177/0255761418771093.

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The tensions present in learning jazz improvisation are well recognized given the contextual shift from more informal environments such as jam sessions and apprenticeships towards academic settings such as school bands and college jazz programs. Research suggests that the development of instruction in music education be informed by and modeled after expert practitioners, yet scant evidence exists on the most effective strategies, methods, and/or approaches for teaching jazz improvisation, in particular against the backdrop of this shift in educational paradigms. In response, the purpose of thi

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Komara, Edward, and Eddie S. Meadows. "Jazz Research and Performance Materials: A Select Annotated Bibliography." Notes 53, no. 2 (December 1996): 480. http://dx.doi.org/10.2307/900142.

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Dennis, Noel. "The ubiquitous jazz metaphor: thoughts from a jazz musician and management educator." Marketing Intelligence & Planning 33, no. 7 (October 5, 2015): 966–71. http://dx.doi.org/10.1108/mip-08-2015-0151.

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Purpose – The purpose of this paper is to provide a viewpoint about how the jazz metaphor can be applied to marketing/management education, in light of the article by Holbrook (2015). Design/methodology/approach – This commentary examines the jazz metaphor from the author’s perspective as a jazz musician and management educator and hopefully provides the reader with a brief snapshot into the intricate workings of a jazz group. This commentary also investigates the lessons to be learned from Miles Davis’s approach to leadership and innovation. Findings – The jazz group can provide a valuable mo

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Andrew Toe, Yuan Loong. "SHANGHAI JAZZ MUSIC FROM 1930 TO 1949." International Journal of Applied and Creative Arts 1, no. 1 (June 29, 2018): 1–12. http://dx.doi.org/10.33736/ijaca.833.2018.

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Jazz music emerged in Shanghai, China between the late 1920s and early 1930s. This paper documented and analysed Shanghai jazz music that was recorded from 1930 to 1949. Shanghai jazz music recorded and performed within this period was selected through stratified random sampling technique. All samples were analysed in terms of melody, harmony, rhythm and form. The results showed that Western diatonic scale was apparent in the melodies, instead of the usual Chinese pentatonic scale; primary chords were prevalent with minimal use of secondary chords in the harmony; the “oom-pah” rhythm in duple

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Barratt, Elisabeth, and Hilary Moore. "Researching group assessment: jazz in the conservatoire." British Journal of Music Education 22, no. 3 (October 21, 2005): 299–314. http://dx.doi.org/10.1017/s0265051705006467.

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This article presents the results of research into methods and scorings for jazz assessment in Trinity College of Music, London, focusing on the possibility of introducing group assessment. It considers the advantages of group assessment methods, contrasting these with the more traditional approach, firmly established in conservatoires, of evaluating individual musicians. We question the role of jazz within the conservatoire, exploring not only the way institutions may transform jazz practice, but also the ways jazz may contribute to the evolution of higher education. The research formed part

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22

Wesolowski, Brian C. "A facet-factorial approach towards the development and validation of a jazz rhythm section performance rating scale." International Journal of Music Education 35, no. 1 (June 21, 2016): 17–30. http://dx.doi.org/10.1177/0255761415590524.

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The purpose of this study was to develop a valid and reliable rating scale to assess jazz rhythm sections in the context of jazz big band performance. The research questions that guided this study included: (a) what central factors contribute to the assessment of a jazz rhythm section? (b) what items should be used to describe and assess a jazz rhythm section performance? (c) how should the items be categorized? (d) what differences among jazz rhythm sections exist at three performance achievement levels? and (e) what criteria best predict group membership into three performance achievement le

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Mikadze, Tamar. "Vakhtang Kakhidze’s Creative Work in the Context of the Relation Between Jazz and Academic Music." Kadmos 11 (2019): 55–85. http://dx.doi.org/10.32859/kadmos/11/55-85.

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Twentieth-century art is characterized by its striving for synthesis, which gave rise to a number of new styles and genres. The creative mutual influence of jazz and academic music is one of the brightest manifestations of this process. Jazz has greatly influenced classical music, and academic music, in turn, has determined important paths for the development of jazz. This issue has not been studied in Georgian musicology to date. As an example of this process, the article discusses Vakhtang Kakhidze’s creative work, with a focus on his concerto for piano and symphony orchestra, and “Brudersch

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Купіна, Д. Д., and М. В. Дидак. "Jazz jem sessions in the aspect of listener perception." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 141–50. http://dx.doi.org/10.33287/221930.

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The purpose of the article is to identify the characteristic features ofjazz jam sessions as creative and concert events. The research methods arebased on the use of a number of empirical approaches. The historicalmethod has characterized the periodization of the emergence andpopularity of jam session as an artistic phenomenon. The use of themethod of comparison of jazz jam sessions and jazz concert made itpossible to determine the characteristic features of jams. An appeal toaxiological research methods has identified the most strikingimprovisational solos of leading jazz artists. Of particul

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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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Salley, Keith. "Ordered Step Motives in Jazz Standards." Journal of Jazz Studies 8, no. 2 (March 17, 2013): 114. http://dx.doi.org/10.14713/jjs.v8i2.42.

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The focus of this study is the melodic motive. It uses a tool called the Ordered Step Motive (OSM) to investigate the way linear motives give shape to jazz compositions that have frequently changing tonal centers, nonfunctional chord connections, no clear global tonics, or structurally open, circular forms. This study contributes to the written body of theoretical knowledge about jazz composition by engaging with current scholarship on tonal ambiguity, circular form, and motivic associations between melody and harmonic organization. This study also invites further research into the relationshi

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Arzamastseva, Olesya V., and Larisa A. Tyurina. "Features of the development of a professional singing sound of pop-jazz performers in the process of teaching performance skills." Tambov University Review. Series: Humanities, no. 191 (2021): 123–29. http://dx.doi.org/10.20310/1810-0201-2021-26-191-123-129.

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The urgency of vocational training for pop-jazz musicians is substantiated. The aim of the study is to determine the necessary components in the work on professional sound production in the process of teaching pop-jazz vocal, as well as to demonstrate some ways to increase the effi-ciency of work on sound in the classroom. The issues of the development of a professional singing voice in the process of teaching pop-jazz performance are considered. The research methods in-cluded: study of special literature, analysis and generalization of research and pedagogical expe-rience of the work of leadi

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Santos, Manuel, and Kevin Morgan. "Developing creative team games players: From jazz to sport coaching." International Journal of Sports Science & Coaching 14, no. 2 (April 2019): 117–25. http://dx.doi.org/10.1177/1747954119834397.

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Traditional coaching methods position coaches at the centre of the learning process and do not encourage players to think creatively. This study challenged this assertion, through the application of pedagogical principles reported in jazz-related literature, which argue that creativity is best developed through collaboration. As such, the study aimed to develop players’ creativity, through the application of pedagogical principles reported in jazz-related literature. An action research design was implemented, during a 14-weeks period, with a youth volleyball squad. Results demonstrated an impa

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Polyanskyi, T. V. "Ragtime in the work of composers of academic tradition." Musical art in the educological discourse, no. 2 (2017): 78–85. http://dx.doi.org/10.28925/2518-766x.20172.7885.

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The twentieth century can be called a century of universal synthesis, and the specific feature of musical creativity is synthetic nature of creative thinking. The expansion of intonation sphere, free dialogue of various genres, styles are becoming more obvious, and in this process an extraordinary role is given to mass music and jazz. The twentieth century created the opportunity not only to take paints from the richest palette, but also to mix them boldly. More often there are compositions in which the effects of various expressive systems are pronounced. So these effects absorb the elements

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Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.

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The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, whi

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Webster, Emma, and George McKay. "The impact of (jazz) festivals: An Arts and Humanities Research Council-funded research report." Jazz Research Journal 9, no. 2 (July 20, 2016): 169–93. http://dx.doi.org/10.1558/jazz.v9i2.29783.

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Handyastuti, Indriyani, Dwiesty Dyah Utami, and Vanda Nirma Audita. "LOCAL COMMUNITIES PERCEPTION ON THE IMPACT OF PRAMBANAN JAZZ FESTIVAL." Journal of Indonesian Tourism, Hospitality and Recreation 3, no. 2 (October 29, 2020): 103–16. http://dx.doi.org/10.17509/jithor.v3i2.28568.

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The development of the organization of the event now starts to vary and provides a valuable and impressive experience for many people. So, from that along with its development, the event appeared increasingly unique both in terms of concept to the venue used. One of the events that have its uniqueness is the festival. In this case, the Prambanan Jazz Festival is one of the types of events that are used as the focus of research. Organizing an event can have an impact on the surrounding community, both in terms of social, environmental, and economical. Communities in the surrounding environment

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Marga, Karyasih. "Public Space, Community, and Enjoyment in Music Festival: The experiences of 2019 Jazz Traffic Festival audience in Surabaya." Jurnal Media dan Komunikasi 2, no. 1 (October 26, 2021): 28. http://dx.doi.org/10.20473/medkom.v2i1.29358.

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This research focuses on the visitors' experience of the Jazz Traffic Festival (JTF) 2019 in Surabaya. This research then aims to know how the experience gained by the visitors in JTF with the genre expansion was incorporated despite its title as Jazz music Performances. This research uses case study method and descriptive-qualitative approach. The data in this research is obtained by observation and independent-interviews with four informants as visitors of JTF. The results of this study showed that each JTF visitors have a different experience due to the preference and purpose of attending t

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Voropaieva, Olena. "Tania Maria’s creative work in the context of trends in the development of jazz in the second half of the 20th century (on the example of the 1980s compositions)." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 57–72. http://dx.doi.org/10.34064/khnum2-27.04.

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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 perfo

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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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Nurhayati, Nurhayati, and Nurhamdah Nurhamdah. "THE EFFECTIVENESS OF TEACHING PRONUNCIATION THROUGH JAZZ CHANTS METHOD." Inspiring: English Education Journal 2, no. 2 (September 18, 2019): 83–96. http://dx.doi.org/10.35905/inspiring.v2i2.1267.

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This study expected to find out the effectiveness of teaching pronunciation through jazz chants and the students’ response toward the implementation of jazz chants method in teaching pronunciation at the eight grade of MTsN Parepare. The result of this research was expected to be useful information in the English teaching and learning process especially in the pronunciation teaching. This research applied pre-experimental method, with two group pre-test and post-test design. The samples of the research were consisted of 27 students from five classes taken from the population at the eight grade

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Newman, Shawn. "It's All in the Hips: Sexual and Artistic Minority in Canadian Concert Jazz Dance." Congress on Research in Dance Conference Proceedings 2012 (2012): 118–23. http://dx.doi.org/10.1017/cor.2012.15.

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Contemporary sexual norms in Canada continue to dictate how sexuality should be presented on the stage in many styles of theatrical dance. Jazz dance is not excluded from this practice; in fact, since the early days of social dancing, jazz dance has often been considered synonymous with gratuitously deviant sex and sexuality. In contemporary artistic circles, concert jazz dance often finds itself subject to an additional classification as low-art because of this perceived relationship between sex and the dancing. This artistically marginalized position of concert jazz implies a conservative he

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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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Pratiwi Susilowati, Dede, and Emzir Emzir. "AGRESIVITAS TOKOH DALAM NOVEL JAZZ, PARFUM, DAN INSIDEN KARYA SENO GUMIRA AJIDARMA (Suatu Kajian Psikologi Sastra)." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 16, no. 2 (July 2, 2017): 106–23. http://dx.doi.org/10.21009/bahtera.162.07.

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AbstrakPenelitian ini bertujuan untuk mengetahui agresivitas tokoh dalam novel Jazz,Parfum, dan Insiden karya Seno Gumira Ajidarma dari pendekatan psikologisastra. Penelitian ini dilakukan bulan September 2016 hingga Juli 2017.Penelitian ini merupakan penelitian kualitatif dengan menggunakan metodeanalisis isi, dan sumbernya adalah novel Jazz, Parfum, dan Insiden. Jenisagresivitas yang paling banyak ditemukan adalah agresivitas langsung-aktifnonverbalsejumlah 91 (75,2%) data yang berupa tindakan merugikan orang lainsecara langsung. Kemudian tujuan agresivitas yang paling menonjol sebanyak 7(70

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Ikechi, Emeka, Ayebanoa Timibofa, and Otuare Theophilus Kika. "Aesthetics of Protest in Black American Literature: A Study of June Jordan’s Directed by Desires and Richard Wright's Native Son." Scholars International Journal of Linguistics and Literature 5, no. 2 (February 24, 2022): 51–57. http://dx.doi.org/10.36348/sijll.2022.v05i02.003.

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The introduction of jazz and blues in the United States of America influenced the works of Afro American writers both in content and form. These jazz and blues musical songs were used as mediums to protest against racism, class, gender and other inhuman practices meted on the blacks in the United States. Although these songs were not formally written, they became a source of inspiration for writers afterwards in terms of themes and style. The later writers who changed to formal literature borrowed from the themes and styles of these jazz and blues musicians. This paper is signicant because it

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Richardson, Paul G., Marcie Riches, Nancy A. Kernan, Joel A. Brochstein, Shin Mineishi, Amanda M. Termuhlen, Sally Arai, et al. "Defibrotide for the Treatment of Hepatic Veno-Occlusive Disease/Sinusoidal Obstruction Syndrome with Multi-Organ Dysfunction: Final Results from a Pivotal, Historically Controlled, Phase 3 Trial." Blood 126, no. 23 (December 3, 2015): 737. http://dx.doi.org/10.1182/blood.v126.23.737.737.

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Introduction Hepatic veno-occlusive disease/sinusoidal obstruction syndrome (VOD/SOS), is a rare and potentially life-threatening complication of hematopoietic stem cell transplantation (HSCT). Severe cases, historically defined by multi-organ dysfunction (MOD), may be associated with mortality rates of >80%. There is no FDA-approved treatment for VOD/SOS. Defibrotide (DF) has a proposed mechanism of action that includes stabilization of endothelial cells and restoration of thrombo-fibrinolytic balance. Earlier analyses of a pivotal phase 3 trial of DF in VOD/SOS plus MOD (Richardson et al.

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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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TUCKER, SHERRIE. "Popular Music and Jazz, 1900–1950." Journal of the Society for American Music 9, no. 4 (November 2015): 497–504. http://dx.doi.org/10.1017/s1752196315000437.

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On the evening of March 8, 2014, I became the most envied person in the Lancaster, Pennsylvania, Marriott Heritage Ballroom (perhaps the whole of Lancaster County). For my own part, I snoozed. But there on the nightstand, my cell phone danced with texts of more energetic colleagues: “Sherrie, you won the Grove! Where the @#! are you?” It seemed I had hit the jackpot in the SAM 2.0 raffle. In (quite literally) the blink of an eye, I had gone from a run-of-the-mill scholar of American music with pretty much the same books on the shelf as others with my particular set of research interests, to on

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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.

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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art

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Тарасова, Н. Ю., та Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)". Музикознавча думка Дніпропетровщини, № 15 (4 листопада 2019): 171–85. http://dx.doi.org/10.33287/221914.

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The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmon

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Binti Qani'ah and Santy Firdatul Islamiyah. "An Analysis of Personal Deixis Used by The Main Character in The La La Land Movie." JEE (Journal of English Education) 7, no. 2 (December 30, 2021): 165–78. http://dx.doi.org/10.30606/jee.v7i2.822.

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This research focused on analyzing personal deixis. It was in pragmatics scope. There were two aims in this research. First was to identify what categories of personal deixis are used by the main character in La la land movie. Second was to explain why the most dominant category of personal deixis is used by the main character in La la land movie. A descriptive qualitative method was in this research. The data of this research were utterances that consist of personal deixis. Then, the source of data was La la land movie. The results of this research were the main character used three categorie

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Wallmann, Harvey W., Carrie B. Gillis, Patricia T. Alpert, and Sally K. Miller. "The Effect of a Senior Jazz Dance Class on Static Balance in Healthy Women Over 50 Years of Age: A Pilot Study." Biological Research For Nursing 10, no. 3 (November 17, 2008): 257–66. http://dx.doi.org/10.1177/1099800408322600.

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The purpose of this pilot study is to assess the impact of a senior jazz dance class on static balance for healthy women over 50 years of age using the NeuroCom Smart Balance Master System (Balance Master). A total of 12 healthy women aged 54—88 years completed a 15-week jazz dance class which they attended 1 time per week for 90 min per class. Balance data were collected using the Sensory Organization Test (SOT) at baseline (pre), at 7 weeks (mid), and after 15 weeks (post). An equilibrium score measuring postural sway was calculated for each of six different conditions. The composite equilib

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Carpenter, Angela C., and Andrea G. Levitt. "Rhythm in the Speech and Music of Jazz and Riddim Musicians." Music Perception 34, no. 1 (September 1, 2016): 94–103. http://dx.doi.org/10.1525/mp.2016.34.1.94.

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Previous research has demonstrated similarities in the rhythmic characteristics of the speech and instrumental music within individual languages, such as French or English, but clear differences in these rhythmic patterns between languages. A recent finding has shown a comparable result for the rhythmic patterns of the spontaneous speech and instrumental music of musicians who speak different dialects of English, such that within-dialect speech and music rhythms are more similar to one another than are across-dialect rhythms. We extend the latter finding by comparing the rhythmic characteristi

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Macías, Anthony. "California’s Composer Laureate." Boom 3, no. 2 (2013): 34–51. http://dx.doi.org/10.1525/boom.2013.3.2.34.

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This essay uses the 1960s, Gerald Wilson’s most prolific period, as a window into his life and work as a big band jazz trumpeter, soloist, arranger, conductor, and composer. This selective snapshot of Wilson’s career inserts him more fully into jazz—and California—history, while analyzing the influence of Latin music and Mexican culture on his creations. Tracing the black-brown connections in his Alta California art demonstrates an often-overlooked aspect of Wilson’s musical legacy: the fact that he wrote, arranged, recorded, and performed Latin-tinged tunes, especially several brassy homages

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Hartley, Nell Tabor. "Jazzing Up The Psychological Contract." American Journal of Business Education (AJBE) 3, no. 4 (April 1, 2010): 21–26. http://dx.doi.org/10.19030/ajbe.v3i4.409.

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Helping students and practitioners to understand and utilize the Psychological Contract is often a difficult task. Unlike fault-finding research, this paper presents the PC as a positive, vibrant and valuable tool. In an effort to make the concept less elusive, the paper draws upon the metaphor of jazz. The metaphor is an accepted tool of learning. Both jazz and the Psychological Contract build upon new themes and accept occasional dissonance and are able to benefit from creative tension.

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