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Interaction and improvisation : group interplay in jazz performance /Hodson, Robert Dean. January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / Includes bibliographical references (leaves 275-277). Also available on the Internet.
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The use of notated and aural exercises as pedagogical procedures intended to develop harmonic accuracy among beginning jazz improvisersLaughlin, James Edwin. January 2001 (has links)
Thesis (Ph. D.)--University of North Texas, 2001. / Includes bibliographical references (p. 105-107).
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Fundamental rhythmic characteristics of improvised straight-ahead jazzBelfiglio, Anthony, January 1900 (has links)
Thesis (D.M.A.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.
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New vocal jazz : Untersuchungen zur zeitgenössischen Improvisierten Musik mit der Stimme anhand ausgewählter Beispiele /Büchter-Römer, Ute, January 1991 (has links)
Diss.--Duisbourg, 1989.
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Interaction and improvisation group interplay in jazz performance /Hodson, Robert Dean. January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 275-277).
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The Creative Process of Ira SullivanBrewer, Peter W. 14 May 2009 (has links)
Six Ira Sullivan performances were analyzed from studio and live recordings spanning the years 1962 to 1998. Sullivan plays different musical instruments on five of the six selections: trumpet, flute, tenor saxophone, alto saxophone (2 selections), and soprano saxophone. Musical facets considered include phrasing (length/placement), melodic contour, lyricism, harmonic phenomenon, and concept of sound. Common musical threads within Sullivan's improvisations were expected to be found throughout all performances. A call and response dynamic across myriad musical fundamentals such as melody, harmony, and rhythm was found to be present and seems to form a basis for much of Ira Sullivan's improvisations. This and other broad traits common to Sullivan's improvisations are presented herein through analysis.
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Conceptualisation et esthétique de l'improvisation dans le jazz : ses relations avec les systémes musicaux, les dénominations, les nomenclatures et les notations harmoniques ou mélodiques en usage /Hediguer, Max. Bayer, Francis, January 1997 (has links)
Th. Etat--Esthétiques, sciences et technologies des arts--Paris 8--Saint-Denis - Vincennes, 1997. / Bibliogr. f. 523-527. Index.
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Conceptualisation et esthétique de l'improvisation dans le jazz : ses relations avec les systémes musicaux, les dénominations, les nomenclatures et les notations harmoniques ou mélodiques en usage /Hediguer, Max. January 1900 (has links)
Th. Etat--Esthétiques, technologie et création artistique--Paris 8, 1997. / Bibliogr. p. 523-527. Index.
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"Terrible honesty" The development of a personal voice in musical improvisationMcMillan, Rosalind Unknown Date (has links) (PDF)
Australia mostly with a focus on the performance of African-American music or jazz. In this majority of these the emphasis is on the performance of those styles which were conceived and developed up to the end of the 1950s and the beginning of the free jazz era. However, there is one course which, although it is rooted in African-American music, promulgates the notion that Australian students in the 1990s should endeavour to develop a personal musical “voice”. This is Improvisation Studies, a three year degree program at the Victorian College of the Arts in Melbourne, Australia. This study sought to clarify what was meant by a personal voice by monitoring the development of selected students. Given that the notion of a personal voice as an outcome is a novel one, the study adopted an investigatory discovery-based approach. This required intensive study of selected students on the grounds that the development of a personal voice manifests itself in different ways. A second major purpose of the study was to investigate factors which affected the development of the personal voice. Key factors included the ways in which the VCA course encouraged the development of this voice, as well as the characteristics that students brought to the course and which possibly reflected their musical educational background.
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The jazz improvisations of the tenor saxophonist Warne Marsh an eclectic analysis /Gold, Michael J. January 1995 (has links) (PDF)
Thesis (Ph.D.)--New York University, 1995. / Includes bibliographical references (leaves 266-270).
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