Thesis (D.M.A.)--University of Oklahoma, 1999. / Includes bibliographical references (leaves 143-154).

xxv, 492 p. ： music / This study applies Schenkerian theory to Chet Baker's jazz improvisations in order to uncover the melodic, harmonic, and contrapuntal hallmarks of his style. Analyses of short excerpts taken from multiple recorded improvisations reveal Baker's improvisational vocabulary, which includes recurring underlying structures that Baker embellishes in a wide variety of ways and places in a wide variety of harmonic contexts. These analyses also explore other traits (rhythmic, timbral, etc.) that appear in Baker's improvisations throughout his career. The dissertation culminates in three illustrative analyses that demonstrate the ways in which Baker constructs single, unified improvisations by masterfully controlling the long-range voice-leading tendencies of his improvised lines. As he weaves his vocabulary into these lines, he creates improvisations that unfold in a way that is logical, satisfying in the fulfillment of expectations, and motivically cohesive on multiple levels of structure. / Committee in charge: Steve Larson， Co-Chair； Jack Boss， Co-Chair； Stephen Rodgers， Member Anne Dhu McLucas Member； George Rowe， Outside Member； Timothy Clarke， External Contributing Member

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 analyzed by the researcher; melodies of standard songs were transcribed and compared with the original version. The number of solos selected from each period was based on the length of time Baker spent with each particular group and the number of albums recorded. The solos were analyzed in terms of rhythmic interpretation of melodies, intervals utilized, use of nonharmonic tones, use of jazz cliches, embellishment of the melodic line, use of melodic and rhythmic patterns, range, tone quality, articulation, vibrato, and vocal scat syllables. As a result of this analysis, the researcher was able to draw conclusions concerning Baker's improvisational style during the period of the study. / School of Music