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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 4 of 4 (0.034 seconds)Spelling suggestions: "subject:"jazz guitar"" "subject:"mazz guitar""
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Extended Program Notes for Thesis Guitar RecitalLebos, Aaron 08 November 2011 (has links)
This thesis presents extended program notes for a sixty-minute guitar graduate recital consisting of the following repertoire in order: Benin; Pure; Home; Closure all by Aaron Lebos; Pat Methany’s Uniquity Road; Sonny Rollins’s Airegin; and Aaron Lebos’s Nothing. These works encompass and display a variety of musical influences and styles. The content of this thesis features detailed information on rhythmic, melodic and harmonic aspects of these works through historical study, musical analysis, and research in performance.
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Pat Metheny Plays the BluesKunovic, Anthony 30 May 2017 (has links)
No description available.
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Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let's Cool One”Anthony, John James 28 September 2012 (has links)
No description available.
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The Adaptation of Saxophone-Like Phrasing into the Improvisatory and Compositional Vocabulary of Jazz Guitar: A Comparative Analysis of Phrasing, Articulation, and Melodic Design in the Styles of Jimmy Raney, Jim Hall, and John ScofieldPinilla, Daniel, 1987- 05 1900 (has links)
This study investigates how different guitarists introduced saxophone-like phrasing into the improvisatory and compositional vocabulary of jazz guitar through their collaborations with saxophonists. This research presents a comparative analysis of phrasing, articulation, and melodic design in solo improvisations. The mixed approach to this study includes analysis of motives, voice leading, articulation, length of phrases, melodic contour, and the execution of bebop vocabulary on the guitar. The findings are based on original transcriptions from significant recordings by guitar-saxophone pairs. These highlight the similarities between and adaptations of musical devices from saxophonists Stan Getz, Jimmy Giuffre, and Joe Lovano into the jazz guitar styles of Jimmy Raney, Jim Hall, and John Scofield. This study supports the argument that the evolution of modern jazz guitar playing is directly connected to the adaptation of saxophone-like phrasing at an improvisatory and compositional level. It also shows that the concept of style in jazz flows between different instruments' lineages. Understanding these findings provides a more complex and accurate concept of the development of style in jazz.
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