Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009. / Title from title screen (site viewed July 21, 2009). PDF text: 131 p. : music ; 6 Mb. UMI publication number: AAT 3352331. Also available in microfilm and microfiche formats.

Explorations is a three-movement experimental work for eighteen-piece jazz ensemble consisting of the following instruments: soprano saxophone, alto saxophone, two tenor saxophones, baritone saxophone, two trumpets, two flugelhorns, three trombones, bass trombone, electric guitar, vibraphone, contrabass, drums and piano. The duration of the work will approximate twelve minutes. The first movement features geometric configurations of spatially notated sound which emphasize percussive qualities of the ensemble (i.e. key clicks, tongue slaps, mouthpiece pops, etc.). Tone clusters of various pitch, texture and dynamics derived from blues scales provide the source material for the second movement. A slowly developing dynamic counterpoint creates the sound mass texture and delineates the form. Movement Three features a contrapuntal poly-metric collage of variations on a four-note theme. The collage provides the background fabric for an exchange of periodic and aperiodic events.

The purpose of this project has been to develop the interplay between guitar and piano in a jazz ensemble context. There are a lot of great examples of interplay with these instruments but there are also well-known issues when guitar and piano share a musical context. Examples of these issues can be rhythmic, harmonic, register of the instruments, the time it takes for changes in the music to happen or the direction of the music. The project is based on exercises for guitar and piano as well as specific exercises for guitar.    I discuss the different challenges and opportunities that present themselves throughout the progress of the project and how the exercises I constructed affect the different aspects of interplay. The discussion is partially based on the result of my exam concert. I also debate whether the exercises have a big impact on the result or if there’s other factors to consider.    The conclusion is that the exercises are less important than the discussions and reflections that this project has led to. The project shouldn’t be seen as a solution but rather a reflection that can give insight on the subject. / <p>Medverkande: </p><p>Samuel Hanes (Elgitarr), Eskil Larsson (Tenorsaxofon), David Stener (Piano), Jakob Ulmestrand (Kontrabas), Henrik Jäderberg (Trummor).</p><p>Framförda verk: </p><p>Untitled 06, Sorry Tom, Slip-Up, Untitled 02, Trippy Tilly. </p>

Holiday in Reality is a five-movement suite for jazz chamber ensemble utilizing strings, brass, woodwinds and jazz rhythm section that provide a context for interplay with the tenor saxophone. The intent was to compose a series of musical vignettes exploring some of the possibilities of integrating jazz and classical idioms, with the goal of fusing these genres into a unified whole. The title Holiday in Reality is the name of a poem written by American poet Wallace Stevens. In this poem, Stevens depicts the interaction between the mind and imagination as a series of spontaneous events. When viewed within a creative context, his viewpoint of mind and imagination are well suited to inspire music composition and improvisation. The analysis of this suite provides a general descriptive overview of the form, harmony, and thematic development in each movement, offering a look into the rationale behind the music's architecture. / text

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This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015