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1	A Legacy of McCoy Tyner from 1962 to 1967: Chick Corea's and Kenny Kirkland's Intervallic Improvisational Tendencies with Pentatonic and Octatonic Scales from 1968 to 1996 Kim, Yeeun 05 1900 (has links) This research aims to trace the influence of McCoy Tyner's style of "intervallic improvisation" on Chick Corea and Kenny Kirkland, as evident in both later pianists' use of triad shapes and patterns based on pentatonic and octatonic scales. While the languages of Chick Corea and Kenny Kirkland were influenced by Tyner, they each subsequently established different harmonic structures and rhythmic devices. Therefore, I describe the stylistic similarity of pentatonic cells based on an intervallic approach to improvisation from one generation to the next with Tyner's improvisational vocabulary found in Kenny Kirkland and Chick Corea. Then, I demonstrate its modernization with octatonic patterns and triad pairs in the jazz tradition via a comparison of the improvisational tendencies of Kirkland and Corea. Jazz Piano Mccoy Tyner Chick Corea Kenny Kirkland Pentatonic Language Intervallic Improvisation Octatonic Scale Music
2	Where Have I Known This Before? An Exploration of Harmony and Voice Leading in the Compositions of Chick Corea Lynch, Jordan 09 April 2012 (has links) No description available. Music jazz harmony voice leading chick corea chromatic thirds chromatic mediants functional harmony planing line-based progressions pedal points ostinato vamps
3	The Controversial Identity of Flamenco Jazz: A New Historical and Analytical Approach Pamies, Sergio, 1983- 05 1900 (has links) 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 field. These writings encompass authors from different backgrounds: journalists, critics, and musicologists, who have approached their analysis of the recordings from different perspectives. The differences in professional backgrounds, approaches, and purpose of the writings of these authors has resulted in controversy about this label. Therefore, the flamenco jazz scholarly conversation needs more objective writings from an analytical point of view. This historiographical study presents a more comprehensive evaluation of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these artists went through when combining musical elements from flamenco and jazz, which in some cases are described as creative misreading. In this century of cultural globalization, where jazz has become a diverse expression of world music because of its capacity to absorb traits from other musical practices, this study can be a resource for international jazz musicians who are seeking to combine jazz with their musical cultural heritage. Flamenco jazz Jazz flamenco Nuevo flamenco Pedro Iturralde Chick Corea Paco De Lucía Creative misreading Jazz historiography World music Music Jazz fusion Iturralde, Pedro. Corea, Chick. Lucía, Paco de. Hampton, Lionel. Davis, Miles. Coltrane, John, 1926-1967. Jazz -- Analysis, appreciation. Academic theses
4	Jazz music: the technological mediation of an aural tradition Jarvis, Brent 28 September 2021 (has links) Jazz music is transmitted by aural and oral means. As recording and broadcast mediums became increasingly ubiquitous, starting in the mid twentieth-century, an ever greater proportion of jazz’s aural transmission would be mediated by these developing technologies. Many commentators address sound’s mediation from one state to another by identifying the resulting recording as an object. This object transcends temporal and spacial proximity, possessing inherent authority with implications for authorship, related work-concepts, and even issues of cultural assimilation. From a perspective informed by writings in musicology, philosophy, and sound studies, I examine recorded jazz music from the twentieth-century. I begin by positioning the history of jazz music in relation to the emergence of recording technologies to establish recordings as authoritative texts. I then translate (by transcription) primarily non-literate jazz recordings into the primarily literate discourse of musicology. In the course of examining music by James Moody, Eddie Jefferson, Bud Powell, Chick Corea, and others, I conclude that they all exemplify musical intertextuality. In some cases, technological mediation connects the texts. I then turn to an examination of recordings specifically. I begin by questioning musical notation as an adequate description of sound and move to developing a broader analytical framework. This thesis culminates with a comparison of Bud Powell’s 1949 recording of Bouncin’ With Bud and Chick Corea’s 1997 recording. Using the framework mentioned, disparate potentialities afforded by each recording’s mediation are connected to musical characteristics. / Graduate Bud Powell Blossom Dearie Blue Note Bouncin' with Bud Chick Corea Christian McBride Eddie Jefferson I'm In The Mood For Love James Moody jazz King Pleasure media music Moody's Mood For Love Marshall McLuhan musicology recording Ron Carter Roy Haynes Rudy Van Gelder sound studies The Flight of the Bopple Bee

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