Teses / dissertações: "African American; Jazz music"

1

Goecke, Norman Michael. "What is "Jazz Theory" Today? Its Cultural Dynamics and Conceptualization". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1395668797.

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Mazman, Alper. "Jazz talks : representations & self-representations of African American music and its musicians from bebop to free jazz". Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/12890/.

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The main focus of this thesis is the representation of jazz music and its musicians, and the ways in which American (black and white) critics, novelists, and musicians interpret this music from the development of bebop to free jazz. My aim is to reveal the complexities of the dialogue between white and black representations of jazz, as well as among the self-representations of African American musicians. To this end, I discuss the discourses of jazz that are embedded within the broader cultural, political and ideological debates in this specific period, illustrating how the meaning of jazz is mediated through these conversations. Although jazz talks through the music itself, I argue that the representation of jazz largely depends on who talks about it. The introduction briefly sketches the context of earlier African American writings on music, from Frederick Douglass through the Harlem Renaissance and beyond. Chapter 1 deals with bebop and the ways in which it was seen as more or less expressive of a specific African American consciousness, and how critics shaped the general view of it. Chapter 2 further explores the African American views of music through James Baldwin short story, "Sonny's Blues". Chapter 3 traces the ways in which white writers used jazz for their own ends, focusing on some key terms such as 'hip' and 'cool'. Chapter 4 explores the complex relation between jazz and the new politics of black liberation through a number of key albums and figures, while Chapter 5 gives a more extended examination of these ideas through the figure of Charles Mingus. My conclusion attempts to look again at one of the themes of the thesis - who has the power to represent jazz - through a discussion of Ken Burns' Jazz.

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3

Rice, Alan J. "The structures and meanings of Toni Morrison's jazz prose style". Thesis, Keele University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362163.

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4

Chirwa, Kabelo Ufulu. "Encumbered Existence| A Three Movement Work for Jazz Orchestra". Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10279545.

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Encumbered Existence is a three-movement programmatic work for jazz orchestra that uses specific events in African-American history to capture the struggle of African- Americans and emotions provoked by these events. The first movement, ?The State of the World,? and last movement, ?Between the World and Me,? capture painful events such as the shooting of Trayvon Martin. ?Between the World and Me? uses the dates of Martin?s birth and death as set classes to guide the piece. The second movement, ?The Dream,? portrays a hopeful attitude and is inspired by Dr. Martin Luther King Jr. and the ?I Have a Dream? speech. Encumbered Existence is 314 measure long. Prior to the score, an analysis of the piece provides an outline of the overall structure of the work as well as illustrations of the musical quotations used throughout the piece. The compositional decisions made during the creative process are explained by highlighting individual musical moments in the piece and then examining their correlation to the work. All inspirational material is also discussed.

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5

Fry, Andy. "De la musique negre au jazz francais : African-American music and musicians in interwar France". Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399455.

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6

Stiegler, Morgen Leigh. "African Experience on American Shores: Influence of Native American Contact on the Development of Jazz". Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1244856703.

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7

Perchard, Tom. "Lee Morgan (1938-72) : the life of one jazz trumpeter in African American culture, music and history". Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424374.

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8

Heller, Michael C. "Reconstructing We: History, Memory and Politics in a Loft Jazz Archive". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10328.

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This dissertation examines a recently discovered archive of films, recordings, photographs and documents relating to the New York jazz lofts of the 1970s. The work not only reconstructs historical details about the lofts, but also explores the significance of the archival project itself, an independent venture founded in 2005 by musician and former loft organizer Juma Sultan. By combining historical research in the Sultan archive and ethnographic engagement with former loft artists, the study examines the continued symbolic significance of the loft era for musicians, listeners and historians. The jazz lofts were independently owned, musician-run spaces in lower Manhattan that served as performance venues, rehearsal halls, living quarters, classrooms and in a variety of other functions. Their emergence is best considered as part of a widespread, politically informed impetus among musicians of the period to organize their own concerts and collective organizations. While the activities shared many similarities with other artist-organized groups emerging in Chicago, St. Louis and elsewhere, the lofts’ independence and lack of a central organizing body led to a more diffuse set of activities than manifested in other cities. The dissertation is structured around two primary goals. First, through archival study and ethnographic engagement, the text traces the musical and social significance of the loft period. Following a basic historical chapter, two thematic discourses are examined at length. The first deals with multivalent forms of freedom envisioned by artists, while the second explores ways that participants conceptualized community and social cohesion. The choice of these discourses is informed by descriptions offered in ethnographic interviews with former loft artists. Second, the research considers the role of the archive itself in the re/construction of historical discourses. A notable self-archiving impulse emerged among jazz artists during the years under study, resulting in thousands of amateur recordings in dozens of private collections. Using the Sultan Archive as the primary case study, the dissertation argues that this self-archiving impulse acts as an artist-initiated intervention into historiographic processes that mirrors the musician-organized ethos of the lofts themselves.
Music

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9

Goecke, Norman Michael. "What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.

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10

Pinson, Koren Heather. "The music behind the image : a study of the social and cultural identity of jazz /". View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3266067.

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11

Perse, Matthew B. "Jazz as Discourse: Music, Identity, and Space". Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303510378.

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12

Love, Aaron Anyabwile. "UNINTERRUPTED CONVERSATIONS WITH OUR EEGUN: PRELIMINARY CONSIDERATIONS FOR METHODOLOGICAL APPROACHES TO THE RESEARCH OF AFRICAN MUSIC AND THE MUSIC OF JOHN COLTRANE". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/289387.

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African American Studies
Ph.D.
African music and its musicians from the Pharaonic periods to Mali to the Mississippi Delta to the South Bronx have contributed some of the most lasting and influential cultural creations known. The music and musicians of Africa have been studied as early as the early 18th century. As interest in African music grew so did the discipline of ethnomusicology. Ethnomusicology has sought to understand, interpret and catalog the various areas of African music. In the United States interest in the music as a continuation of African culture was also sought after and investigated as an important area of research. The main objective of this project is to help expand the methodological approaches in the study of African Diasporan musical cultures and their practitioners. The author undertook a critical examination of the previous works on the subject made by both Continental and Diasporan African scholars, in addition to fieldwork in the United States and Africa (Ghana). Through considering the work songs of Pharaonic Egypt, the cosmogram of the Bantu-Kongo and the life of John Coltrane in particular this proposed work articulates new methodological tools in the research of African music and musicians.
Temple University--Theses

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13

Lower, Jonathan Scott. "The American Blues: Men, Myths, and Motifs". Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1340154289.

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14

Gaines, Adam W. "Work of Art : the life and music of Art Farmer". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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15

Waits, Sarah A. ""Listen to the Wild Discord": Jazz in the Chicago Defender and the Louisiana Weekly, 1925-1929". ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1676.

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This essay will use the views of two African American newspaper columnists, E. Belfield Spriggins of the Louisiana Weekly and Dave Peyton of the Chicago Defender, to argue that though New Orleans and Chicago both occupied a primary place in the history of jazz, in many ways jazz was initially met with ambivalence and suspicion. The struggle between the desire to highlight black achievement in music and the effort to adhere to tenets of middle class respectability play out in their columns. Despite historiographical writings to the contrary, these issues of the influence of jazz music on society were not limited to the white community. Tracing these columnists through the years of 1925-1929, a critical point in the popularity of jazz, reveals how considerations of black innovation and economic autonomy helped alter their opinions from criticism to ownership.

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16

Ebert, Alexander. "Jazz und seine Musiker im Roman "vernacular and sophisticated"". Hamburg Kovač, 2009. http://d-nb.info/996277846/04.

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17

Demmler, Monika [Verfasser], e Hubert [Akademischer Betreuer] Zapf. "Biophilia and the Aesthetics of Blues, Jazz, and Hip-Hop Music in African-American Prose Fiction / Monika Demmler. Betreuer: Hubert Zapf". Augsburg : Universität Augsburg, 2015. http://d-nb.info/108077291X/34.

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18

Keeler, Matthew. "BESSIE SMITH: AN AMERICAN ICON FROM THREE PERSPECTIVES". Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1130967483.

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19

Surber, Greg A. "Record Progressions: Technology and its Role in the Development and Dissemination of Jazz". Ohio University Honors Tutorial College / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1258571630.

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20

Horton, Brian (Saxophonist). "Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011761/.

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This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non-diegetic tone parallel that musically narrates several authentic characteristics of African-American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. My new work––Black Magic––is a musical response to the research found within this study. The through-composed piece is written in three movements for a studio orchestra. It is an homage to the musical, cultural, and entertainment contributions of African-Americans in the magical realm of Hollywood cinema.

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21

Hicks, Keisha. "Sumptuous Soul: The Music of Donny Hathaway Everything is Everything Donny Hathaway, 1970". Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400519910.

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22

Van, der Hoven Wikus. "Invictus : Orchestral Prelude in 3 movements by Noel Stockton : analytical discussion of the synthesis of the basic elements of music in a third stream composition". Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23621.

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This study aims to describe how the basic elements of music are synthesised and manipulated to create a composition in the musical style called Third stream music. This is done through a comprehensive description of the background of this musical style and a detailed analysis of a case study Third stream work, Invictus: Orchestral Prelude in 3 Movements, by the South African composer Noel Stockton and commissioned by the South African Music Rights rganisation. Copyright
Dissertation (MMus)--University of Pretoria, 2010.
Music
unrestricted

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23

Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook". University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.

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24

Marchbanks, Jack R. "Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil RightsMovement, 1955-1965". Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1522929258105629.

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25

Henry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.

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26

Linscott, Charles P. "Sonic Overlook: Blackness between Sound and Image". Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.

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27

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.

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anderson, Benjamin Park. "Seeing (for) Miles: Jazz, Race, and Objects of Performance". W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539623644.

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Using jazz trumpeter Miles Davis (1926-1991) as its primary example, "Seeing (for) Miles" attempts to build on a growing discourse related to the intersection of jazz, race, and visual / material culture that has heretofore largely ignored the role of consumption. Davis' numerous decisions to spend money on expensive things and/or have them custom made, insisting these things be seen by others, and overseeing his image in advertisements are a reminder that famous musicians often found themselves straddling the line between being consumers and objects of consumption. Following Davis on both sides of that line also necessitates following him on and off the stage, in the eye of his fans as well as the general public. Each of the chapters of this dissertation seek to understand how Davis negotiated this variety of viewpoints as a musician, consumer, and African American via his colored trumpets, tailored suits, sports cars, an expensive home, and instrument advertisements.;The decisions Davis and others made with regard to their positions as consumers and African Americans reflected back on a longer history of black interaction with the marketplace while positioning themselves within existing debates concerning racial equality, jazz's status as high art, and the merits of capitalism as a catalyst for democracy. at the same time, their careers as public performers, status as celebrities, and the increasing presence of the visual mass media ensured that their consumer-related decisions reached bigger and wider audiences than ever before. In such a context, the marketplace can be understood as having constituted a unique venue in which black jazz musicians performed a variety of roles relative to their musical and racial identities. Understanding the ways Davis and others negotiated this process allows us to shed light on a relatively unexplored aspect of jazz culture while also suggesting ways in which racial and musical identities continue to be impacted by visual / material culture in modern society.

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Ross, Larry. "Jazz musicians in the diaspora /". free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946292.

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Guerra, Stephen Paul. "Expanded Meter and Hemiola in Baden Powell's Samba-Jazz". Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957326.

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Afro-Brazilian guitarist-composer Baden Powell de Aquino (1937-2000), one of Brazil's earliest and most successful international musicians, is renowned for his inexplicable rhythmic style. This is especially true in the context of instrumental samba, or samba-jazz, which emerged in the late-night music clubs of 1950s-60s Rio de Janeiro. Samba-jazz engages a set of normative expectations: (1) a theme-and-variations performance involving a (2) cyclic scheme of regular and even chord changes comprising (3) a form of often 16 or 32 bars traditionally conceived of as being in duple meter (e.g. 2/4), where (4) improvised variations track the chord changes of the form. Against this recursively even, duple-meter background, Baden's chord-melodic improvisations frequently foreground dotted or asymmetrical rhythms that, in their interaction with the duple frame, suggest uneven periodicities. This study argues that such uneven regularities can, under certain conditions, be defined as metric and as such can be treated as participating in generalized hemiolas of the background form's meter. This two-fold expansion of meter and hemiola leads to the discovery of a much larger and more variegated abstract space constituted by the even and uneven metric possibilities for a given span of musical time.

This dissertation consists in two complementary projects. The theoretical project expands current theories of meter, hemiola, and metric space, as most recently defined by Richard Cohn (2018), to incorporate Justin London's (2012) theory of non-isochronous meters. The analytical project explores the richness of Baden's rhythmic art–it's metric implications and relationship to tropes of samba-jazz.

Through an exploratory analysis of "É de lei," Chapter 1 shows why we should and how we can expand current meter theory, while introducing the reader to Baden Powell and his musical context of Brazilian samba and samba-jazz. Chapter 2 is a formal exposition of the expanded theory of meter, hemiola, and metric space. Using the language and representations of mathematical set and graph theories, it builds analogous (to Cohn 2001) analytical models of hemiola and metric space from the ground up upon an expanded and revised definition of meter that allows for both isochrony and well-formed non-isochrony. Through a series of shorter examples, including passages from "Tristeza," "A lenda do Abaeté," and "Canto de Xangô," Chapter 3 defines, contextualizes, and analyzes four of the most prevalent rhythmic tropes of samba-jazz, while building some basic familiarity with the method of the analytical model. Chapter 4 considers larger examples organized around the idea of harmonic quantization, including extended improvisations from "Samba triste," "Conversa de poeta," and "O barquinho." It seeks to understand the metric implications of how Baden in theme-and-variations form can simultaneously support the 2/4 bar-to-bar chord changes required by the harmonic form of the theme while soloing with long extensions of dotted chord-melodies. Chapters 3 and 4 gradually increase the tempo and scope of analysis–from a few bars to entire form variations. Chapter 5 analyzes an entire recording, the afro-samba "Candomblé," principally asking how metric change and hemiola influence our perception of musical form, especially in the absence of more traditional form-defining parameters.

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Olson, Ted S. "African American Music in Southwest Virginia". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5514.

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Excerpt: African Americans have lived in Southwest Virginia since the early eighteenth century, and their traditions—their verbal folklore, customary folklife, and material culture—have long influenced cultural life in Southwest Virginia. African American music has been particularly impactful in the region, yet many people today are unaware of the extent of that influence.

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Taylor, Corey Michael. "Ambiguous sounds African American music in modernist American literature /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 253 p, 2009. http://proquest.umi.com/pqdweb?did=1654487481&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Miller, Robyn Lee. "The role of the saxophone embouchure in the production of the South African jazz sound : a study of nine jazz saxophone players". Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11118.

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South Africa is known for having its own distinctive jazz music sound of which the saxophone is a significant feature. The saxophone has often been recognised world-wide as a symbolic jazz instrument and has also played an important role in South African jazz. As the embouchure of the saxophone is crucial to its sound production, it stands to reason that it plays a role in producing this distinctive South African jazz sonority. The purpose of this study is to understand the role of the embouchure in producing the ‘South African jazz saxophone sound’, and to find a common trend in saxophonists.

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Vincs, Robert, e robert vincs@deakin edu au. "African heart, eastern mind: the transcendent experience through improvised music". Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.121703.

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Modeste, Jacquelynne Jones. "The blues and jazz in Albert Murray's fiction: A study in the tradition of stylization". W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623458.

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The use of the blues as a critical theory and as a literary model for the crafting of fiction opens new possibilities for both intellectual and artistic exploration. Reflecting the power of human agency amidst antagonism, the blues is the music of personal triumph over the brutality of circumstances despite any change in condition. The music's emphasis on improvisation reveals human agency because through instrumentation, singing, stylistic nuances, audience participation and/or venue individuals transform perceived or imagined woefulness into hopefulness. Studying the blues and its cultural legacy is significant in identifying the mechanisms by which individuals and ultimately entire communities sustain themselves. The literature that uses the blues as an aesthetic guide demonstrates variety of experience, human agency, and an individual crafting of identity in relation to group identity.;Albert Murray's Scooter series, Train Whistle Guitar (1974), The Spyglass Tree (1991) and The Seven League Boots (1995), lends insight into the ways in which the blues contributes to the writing of fiction. Initially set in the 1920s and 30s Jim Crow U.S. South, the series follows Scooter through maturity into the 1960s. Scooter is reared in the blues tradition; its history is his life. Music abounds, living conditions are harsh but his community exudes vitality that parallels the music. The blues is intrinsically linked with heroic activity because it demonstrates the ways in which personal agency transforms actual or perceived limitations.;In Murray's blues-based series, a modeling of jazz is the logical outcome of Scooter's characterization because jazz resonates with ingenuity and variety while being rooted in African American culture. This study analyzes Scooter's maturity as it parallels the development of the blues through the country blues (Train Whistle Guitar), classic blues to jazz during Scooter's college years (The Spyglass Tree), and the smoothness of style consistent with swing-style jazz during Scooter's mature adulthood (The Seven League Boots). Scooter's characterization will be considered in conjunction with Thomas Malory's, Arthur in Le Morte D'Arthur (1485); Ralph Ellison's protagonist in Invisible Man (1952); and Richard Wright's Bigger Thomas in Native Son (1940).

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Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism". Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.

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Sutton, Mathew D. "Just Friends: Racial Allies in Jazz Autobiography". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/7829.

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Autobiographical accounts of interracial friendships tend to take on unrealistic Huck-andJim-type dimensions, particularly in southern musicians’ autobiographies, where musical compatibility is often mistaken for a larger sense of harmony. A select few memoirs, however, have dispensed with this master narrative to illustrate instances of overcoming segregation through interpersonal means. In the vein of fellow Alabamian W.C. Handy’s The Father of the Blues, (1941), jazz composer/performer Willie Ruff’s A Call to Assembly (1991) uses the tools of African American respectability politics (ideals of democracy, Christianity and common humanity) to build more balanced relationships with young white contemporaries also enraptured by jazz, in the process shaming segregationists. In this case, music paves the way for whites’ understanding of larger social equality. In Bakhtinian terms, this authorial positioning is “centripetal” (literally meaning “rotation toward the center”), affirming unity and common core values to the reader. By contrast, bebop musician Dizzy Gillespie in his To Be or Not to Bop (1979) takes on more centrifugal proportions, “clowning” his way around segregation like the time-honored trickster figure, finding allies in the jazz counterculture in the west, the north and abroad, beyond the reach of Jim Crow. Like Ruff, though, Gillespie takes advantage of jazz’s strategies to escape the trap of asymmetrical “friendships.” By eschewing the platitudes of the interracialbrotherhood tale, Ruff and Gillespie reveal the reciprocity and sacrifice necessary for white ally ship and establish jazz as a medium for political expression and true collaboration.

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

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

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Erickson, Clipper. "The six piano suites of Nathaniel Dett". Thesis, Temple University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623149.

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The six piano suites of R. Nathaniel Dett (1882-1943) constitute a substantial body of piano music that illustrates the musical development of an important, but historically neglected American musician. Dett was a seminal figure in the preservation and study of spirituals, both as a writer and choral leader, and as a great teacher and inspirer of African-American musicians in the generations that followed him. Educated at Oberlin and Eastman, he was lauded as the first American composer to fuse Negro folk music with European art music tradition.

The writing of a series of like-genre works over a composer's lifetime, reflecting stylistic changes and a deepening world view, is a special event in the history of keyboard music. Unfortunately, Dett's piano music is rarely performed except for the second of the suites, In the Bottoms. Although his importance to African-American musical history is generally acknowledged by musicologists, his works for piano have remained largely unexplored by performers.

Dett's eclectic pursuits included poetry, the Rosicrucian Society, and religion. This study explores the connections between the suites and other musical styles and traditions, Dett's many extra-musical interests, and his performing life. It also offers some possible explanations for the relative lack of attention received by his piano music.

This study incorporates research from readily-available sources, as well as the Nathaniel Dett archives at the Niagara Falls New York Public Library and Hampton University. The first three chapters give an overview of Dett's style and influences, as well as a description of how his musical language developed from his first suite, Magnolia (1912), to his last, Eight Bible Vignettes (1941-43), written at the end of his life. Each suite is examined individually in detail in the following six chapters. It is hoped that this work will stimulate appreciation of Dett's piano music and lead to more frequent performances. Its goal is to give to the reader the same sense of admiration and joy that the author's exploration of these works has given him.

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Sutton, Mathew D. "Omar’s Bayou: The Jazz Origin Myth of Treat It Gentle". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/7831.

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Book Summary: Swamp Souths: Literary and Cultural Ecologies expands the geographical scope of scholarship about southern swamps. Although the physical environments that form its central subjects are scattered throughout the southeastern United States―the Atchafalaya, the Okefenokee, the Mississippi River delta, the Everglades, and the Great Dismal Swamp―this evocative collection challenges fixed notions of place and foregrounds the ways in which ecosystems shape cultures and creations on both local and global scales. Across seventeen scholarly essays, along with a critical introduction and afterword, Swamp Souths introduces new frameworks for thinking about swamps in the South and beyond, with an emphasis on subjects including Indigenous studies, ecocriticism, intersectional feminism, and the tropical sublime. The volume analyzes canonical writers such as William Faulkner, Zora Neale Hurston, and Eudora Welty, but it also investigates contemporary literary works by Randall Kenan and Karen Russell, the films Beasts of the Southern Wild and My Louisiana Love, and music ranging from swamp rock and zydeco to Beyoncé’s visual album Lemonade. Navigating a complex assemblage of places and ecosystems, the contributors argue with passion and critical rigor for considering anew the literary and cultural work that swamps do. This dynamic collection of scholarship proves that swampy approaches to southern spaces possess increased relevance in an era of climate change and political crisis.

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Bartlett, Andrew Walsh. "The free place : literary, visual, and jazz creations of space in the 1960s /". Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10312.

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Ottum, Joshua J. "Anthropogenic Moods: American Functional Music and Environmental Imaginaries". Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1458123106.

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Oliveira, Marcos Antonio Morgado de. "Fight the power oppositional discourse in african-american popular music". Florianópolis, SC, 1999. http://repositorio.ufsc.br/xmlui/handle/123456789/80856.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.
Made available in DSpace on 2012-10-18T20:07:38Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-09T03:28:41Z : No. of bitstreams: 1 171639.pdf: 2377897 bytes, checksum: 64aec4a25c4c71fcb9a8ecf2e9d57146 (MD5)
Análise do discurso de oposição nas letras de músicas populares Afro-Americanas dos Estados Unidos. Este estudo identifica os elementos textuais que caracterizam o discurso como de oposição e os relaciona às representações de relações sociais e identidades sociais das elites e da minoria Afro-Americana. A investigação do discurso Afro-Americano revela como as relações sociais e as relações de identidade são reproduzidas, desafiadas e/ou transformadas e como relações de poder e dominação, e oposição a estas, são construídas neste discurso.

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Rowland, Michael L. "Adult learning through religious music in an African American church /". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951907959578.

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Bäckström, Björn. "Where’s the Melody, Where’s the Harmony?" Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3474.

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This paper is about my process of composing and performing music inspired by The Great American Songbook. Doing this via tools acquired by analyzing the works from composers like Irving Berlin, George Gershwin, Arthur Johnston and other composers from that era. I have analyzed and found common associations with form and harmony, the use of melodic content and often used clichés which I have incorporated in my own composing. It also deals with my progress to arrange and rehearse the music to present it in form of a concert at The Royal College of Music on the 6thof March 2020. I reflect about the process of composing and if I achieved the same level of freedom playing my compositions as I have playing jazz standards. I come to the conclusion that I feel as confident performing these tunes as I do music from The Great American Songbook.

Medverkande på konserten: Björn Bäckström (tenorsaxofon), Erik Tengholm (trumpet), Lars Ullberg (trombon), Jonny Ek (piano), Uno Dvärby (kontrabas), Jakob Bylund (trummor). Till uppsatsen bifogas inspelningar och partitur på mina egna kompositioner som är kopplade till arbetet: It's Time, Diminished Results, You can't keep this up, Midnight mood, Oh sweet Olivia och Dortmund Express. Även bifogas inspelning på Don't Get Around Much Anymore, skriven av Duke Ellington, som framförts vid konserttillfället.

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Pyper, Brett. ""You can't listen alone"| Jazz, listening and sociality in a transitioning South Africa". Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3614893.

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This is a study of contemporary jazz culture in post-apartheid South Africa. It demonstrates that the significance of jazz can productively be understood from the perspective of listeners, complementing the necessary attention that has historically been afforded to the creators and performers of the music. It describes the rich social life that has emerged around the collecting and sharing of jazz recordings by associations of listeners in this country. In these social contexts, a semi-public culture of listening has been created, it is argued, that is distinct from the formal jazz recording, broadcast and festival sectors, and extends across various social, cultural, linguistic and related boundaries to constitute a vibrant dimension of vernacular musical life. South African jazz appreciation societies illustrate that collecting may be a global phenomenon but that recordings can take on quite particular social lives in specific times and places, and that the extension of consumer capitalism to places like South Africa does not always automatically involve the same kinds of possessive individualism that they do in other settings, and might even serve as a catalyst for new forms of creativity. The study demonstrates, moreover, that what is casually referred to as "the jazz public" is an internally variegated and often enduringly segregated constellation of scenes, several of which remain quite intimate and, indeed, beyond the view of the "general public." The study foregrounds how one specific dimension of jazz culture – the modes of sociability with which the music has become associated among its listening devotees – can assume decidedly local forms and resonances, becoming part of the country's jazz heritage in its own right and throwing into relief the potential breadth, range and contrasts in the ways that jazz writ large can be figured and recontextualised as it is vernacularized around the world. The study recognizes the significant role that jazz appreciation societies play in creating culturally resonant grassroots social settings for this music, documents and analyses the creativity with which they do so, and considers the broader implications of their contribution to the musical elaboration of public space in contemporary South Africa.

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Bell, Ian A. "African-American Bassoonists and Their Representation within the Classical Music Environment". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555519921599826.

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Garza, Stevie Lynne. "Representations of African-American life In Alexander Zemlinsky's Sinfonsiche [sic] Gesänge, O20". Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/671.

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In 1929, Alexander Zemlinsky composed the Sinfonische Gesänge, Op. 20, a collection of orchestral song settings of German translations of works by Harlem Renaissance poets. The seemingly exotic poetic texts as well as the composer's subtle incorporation of primitivistic instrumentation and rhythmic gestures commonly associated with jazz aptly reflect Weimar Germany's fascination with African-American culture at the time. The seven poems selected for the work feature a variety of topics that contribute to the pervasively somber tone of the cycle. The poetic themes either focus on issues that are considered to be particular to African-American life, such as slavery and lynching, or ones that are more general and universal, like loss, disillusionment, and death. Although all of the texts were penned by black American writers, the musical settings reveal a complex understanding of African-American life that is highly influenced by the perceptions of early twentieth-century Austro-German society. Each song's illustrative orchestration and symbolic motivic treatment accentuate an aspect of the constructed culture that is demonstrated through poetic characterization, setting, or theme. As a result, the overall arrangement of the songs as a cycle presents a multifaceted version of a distant African-American world that would have been accessible to its intended European audience.

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Wise, Raymond. "Defining African American gospel music by tracing its historical and musical development from 1900 to 2000". Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243519734.

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Sonbert, Nicole Michelle. "EVALUATING APPROPRIATE REPERTOIRE FOR DEVELOPING SINGERS: AN AFRICAN-AMERICAN ART SONG ANTHOLOGY". UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/104.

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Finding appropriate and unique repertoire for the developing singer is a daunting task and ongoing challenge in the teaching profession. There are limited resources to help guide teachers in selecting varied, yet suitable repertoire that falls outside of the standard Western European musical canon. The early years, ages 17–21, are crucial to establishing a healthy and well-rounded vocal approach to singing, while also introducing the student to a wide variety of music. African-American art song is a great option for developing singers. Repertoire should allow a student to grow musically, vocally, and artistically according to the singer’s specific stage of learning and interests. Selecting repertoire through established criteria that considers the student’s personal and cultural interests (in addition to pedagogical needs) allows for a good foundation to support a healthy vocal development. Consideration of numerous elements, such as historical, musical, physical, emotional, and vocal characteristics offers a framework for a comprehensive approach in the selection process. In Literature for Teaching: A Guide for Choosing Solo Vocal Repertoire from a Developmental Perspective, Christopher Arneson provides a wonderful base for further study, and application into repertoire selection. Through the utilization of Arneson’s suggestions, I have created a rubric that quantifies key criteria important to the evaluation of repertoire. Through this rubric, a clear evaluation and assigned difficulty level is provided for each song in the collection. This compilation of songs is only the beginning to a proposed anthology entitled: African-American Art Song for the Developing Singer. Each song offers a historical and pedagogical summary that includes the following: composer and poet biographies, text and translations, basic form, original key and other keys available, performance notes, range, tessitura, suggested voice type, tempo suggestions, difficulty level, and other available editions. This unique anthology of African-American art song offers teachers with a resource that evaluates appropriate repertoire for developing singers, between the ages of 17–21, that is clearly accessible.

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