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Добірка наукової літератури з теми "Jazz Analysis, appreciation"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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Статті в журналах з теми "Jazz Analysis, appreciation"

1

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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2

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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3

HØGSBJERG, CHRISTIAN. "“That Dreadful Country”: C. L. R. James's Early Thoughts on American Civilization." Journal of American Studies 51, no. 1 (March 14, 2016): 21–42. http://dx.doi.org/10.1017/s0021875816000517.

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If C. L. R. James could later reflect in Beyond a Boundary that before arriving in Britain, “about Britain, I was a strange compound of knowledge and ignorance,” then the same was fundamentally true about his relation to American society before his arrival there in 1938. This article will begin with discussion of the attraction of America for black West Indians, including George Padmore, in the era of the Harlem Renaissance, as well as the young James's own love of jazz and American literature. The complexities of the young James's “anti-Americanism” will be also explored, before we explore ho

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4

Tayyebi, Seyed Farhad, and Yuksel Demir. "Musical Preferences Correlate Architectural Tastes: An Initial Investigation of the Correlations Between the Preferred Attributes." Advanced Journal of Social Science 7, no. 1 (September 22, 2020): 96–108. http://dx.doi.org/10.21467/ajss.7.1.96-108.

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Despite a large number of discussions on the analogical and technical interrelations between architecture and music, very few studies have looked at the interrelations between the appreciations of the attributes among them. This study investigates the correlations between the preferences of architectural and musical attributes to reflect how they generally interrelate with each other. The considered visual qualities related to architectural forms are symmetricity, complexity, rhythm, pattern, and stress; and the considered musical attributes are related to the main four categories of Genres, p

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5

Steinbeck, Paul. "“Patience, Sincerity, and Consistency”: Fred Anderson’s Musical and Social Practices." Critical Studies in Improvisation / Études critiques en improvisation 6, no. 2 (December 1, 2010). http://dx.doi.org/10.21083/csieci.v6i2.1020.

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The August 19, 2009 symposium held in honor of Chicago tenor saxophonist Fred Anderson, and the eightieth-birthday concert that took place the following evening, provided tangible representations of the acclaim and appreciation received by Anderson in his last years. Though Anderson was best known for his work as a performer, bandleader, and “gray eminence” on the international jazz and improvised-music scene, he was equally successful in the social realm as an educator, a community builder, and—critically—the steward of the Velvet Lounge nightclub, which he owned and operated from 1982 to 201

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6

Nakano, Hiroko, Mari-Anne M. Rosario, and Constanza de Dios. "Experience Affects EEG Event-Related Synchronization in Dancers and Non-dancers While Listening to Preferred Music." Frontiers in Psychology 12 (April 12, 2021). http://dx.doi.org/10.3389/fpsyg.2021.611355.

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EEGs were analyzed to investigate the effect of experiences in listening to preferred music in dancers and non-dancers. Participants passively listened to instrumental music of their preferred genre for 2 min (Argentine tango for dancers, classical, or jazz for non-dancers), alternate genres, and silence. Both groups showed increased activity for their preferred music compared to non-preferred music in the gamma, beta, and alpha frequency bands. The results suggest all participants' conscious recognition of and affective responses to their familiar music (gamma), appreciation of the tempo embe

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7

Hill, Wes. "Harmony Korine’s Trash Humpers: From Alternative to Hipster." M/C Journal 20, no. 1 (March 15, 2017). http://dx.doi.org/10.5204/mcj.1192.

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IntroductionThe 2009 American film Trash Humpers, directed by Harmony Korine, was released at a time when the hipster had become a ubiquitous concept, entering into the common vernacular of numerous cultures throughout the world, and gaining significant press, social media and academic attention (see Žižek; Arsel and Thompson; Greif et al.; Stahl; Ouellette; Reeve; Schiermer; Maly and Varis). Trash Humpers emerged soon after the 2008 Global Financial Crisis triggered Occupy movements in numerous cities, aided by social media platforms, reported on by blogs such as Gawker, and stylized by multi

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8

Mercieca, Paul Dominic. "‘Southern’ Northern Soul: Changing Senses of Direction, Place, Space, Identity and Time." M/C Journal 20, no. 6 (December 31, 2017). http://dx.doi.org/10.5204/mcj.1361.

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Music from Another Time – One Perth Night in 2009The following extract is taken from fieldwork notes from research into the enduring Northern Soul dance scene in Perth, Western Australia.It’s 9.30 and I’m walking towards the Hyde Park Hotel on a warm May night. I stop to talk to Jenny, from London, who tells me about her 1970s trip to India and teenage visits to soul clubs in Soho. I enter a cavernous low-ceilinged hall, which used to be a jazz venue and will be a Dan Murphy’s bottle shop before the year ends. South West Soul organiser Tommy, wearing 34-inch baggy trousers, gives me a Northern

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Дисертації з теми "Jazz Analysis, appreciation"

1

Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this

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2

Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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3

Cogswell, Michael. "Melodic Organization in Four Solos by Ornette Coleman." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501207/.

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The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography.

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4

Brien, Stephen. "An investigation of forward motion as an analytic template." Master's thesis, Sydney Conservatorium of Music, 2004. http://hdl.handle.net/2123/9045.

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5

Williams, Alwyn. "The color of sound : jazz and the American intelligentsia, 1919-1939 / Alwyn Williams." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/27982.

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The Color of Sound is a history of the American intelligentsia’s response to jazz in the 20 years between the World Wars, containing analysis of the writings of both white and black thinkers, highlighting the way beliefs about jazz have changed during this period. This history demonstrates that our popular understanding—that jazz is an improvised music, based on the musical practices of African Americans— originated in the late 1920s and early 19305, when a small number of writers challenged the orthodoxy of the first decade of jazz criticism. In the 1920s, American intellectuals (both black a

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6

Murdock, Matthew C. "Sidewinder syndrome : improvisational vocabulary and construction of Richard "Blue" Mitchell and Lee Morgan." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364934.

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During the mid 1960s, record producers and jazz critics coined the phrase Sidewinder Syndrome to describe the funky style of music popularized through the success of Lee Morgan's solo release of "Sidewinder. The funky style, rooted in the heart of the hard bop period (1955-1965), united jazz, Latin influences, and popular black traditions such as gospel and urban blues. Lee Morgan (1938-1973), composer of "Sidewinder," and Richard "Blue" Mitchell (1930-1979) were two prolific trumpet artists from this time period who embraced the Sidewinder Syndrome, and as a result provided a rich improvisati

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7

Kelly, Kenneth Todd. "Chet Baker : a study of his improvisational style, 1952-1959." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.

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The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyz

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8

Kteily-O'Sullivan, Laila Rose. "Klangfarben, Rhythmic Displacement, and Economy of Means: A Theoretical Study of the Works of Thelonious Monk." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501262/.

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The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The mus

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9

Hedenstrom, Aaron. "Programmatic Geographical Depictions in Large-Scale Jazz Ensemble Works: Major Works by Gil Evans and Chuck Owen and a New Work by Aaron Hedenstrom." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849643/.

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This dissertation explores the creative process in large-scale jazz ensemble works that are programmatic in depicting geographical locations. This is achieved through analyses of Gil Evans's Sketches of Spain, Chuck Owen's River Runs: A Concerto for Jazz Guitar, Saxophone, & Orchestra, and Aaron Hedenstrom's Sketches of Minnesota. Each work is examined using five analytical categories: orchestration, large-scale form, harmonic/melodic development, programmatic framework, and use of featured soloists. The analyses draw from musical scores, interviews, biographies, recordings, and articles to re

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10

Pamies, Sergio 1983. "The Controversial Identity of Flamenco Jazz: A New Historical and Analytical Approach." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849724/.

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There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the existent literature on flamenco jazz on the evaluation of these recordings and these artists' achievements and contributions to this fiel

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Книги з теми "Jazz Analysis, appreciation"

1

Analyser le jazz. Paris: Outre mesure, 2009.

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2

Living with jazz: An appreciation. Fort Worth, TX: Harcourt Brace College Publishers, 1996.

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3

C, Ward Geoffrey, ed. Moving to higher ground: How jazz can change your life. New York: Random House, 2008.

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4

Enjoying jazz. New York: Schirmer Books, 1986.

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5

Larson, Steve. Analyzing jazz: A Schenkerian approach. Hillsdale, NY: Pendragon, 2009.

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6

Analyzing jazz: A Schenkerian approach. Hillsdale, NY: Pendragon, 2009.

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7

Jazz. Chicago: McGraw-Hill, 2004.

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8

Jazz. Lincolnwood, Ill: NTC Pub. Group, 1998.

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9

T, Brown Charles. The jazz experience. Dubuque, Iowa: W.C. Brown Publishers, 1989.

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10

Jazz styles: History and analysis. Upper Saddle River, N.J: Pearson, 2012.

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