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Passports to jazz : the social and musical dynamics of South African jazz in Britain, 1961-1973Dalamba, Lindelwa Ncedisa January 2014 (has links)
No description available.
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Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of PhilosophySugg, Andrew Norman. January 2001 (has links) (PDF)
Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.
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Narrative frames and the works of John ColtraneDuncan, James Bryan 03 May 1999 (has links)
In Culture and Imperialism, Said illustrates that we have no "autonomous
cultural forms," but rather "impure" ones that are the products of historically
"discrepant experiences." American culture has an interesting relationship with the
history of imperialism. The Europeans that settled the U.S. imported slave labor to
assist in the growth of the new nation and this practice ironically "hybridized"
American culture despite institutionalized segregation of the races, mixing disparate
cultural ideas in a common social location.
Said's theory fits an analysis of jazz in America since the music was
instigated by the enslavement of native Africans, West Indians and inhabitants of the
Caribbean, and the tensions this produced between traditional European and non-European cultural experiences are emblematic of its evolution into a popular form of
music. Concomitant to its popularity in the later 1930s was a scholarly interest in the
history of jazz, which culminated in narratives ascribing to it a recognizable
"American" history and a set of familiar European aesthetic characteristics, neglecting
the "discrepant experiences" of jazz history.
During the 1940s, some artists were working with musical ideas that
expanded the innovative spaces left open by those preceding them. Criticized for
playing "anti-jazz," they produced music for audiences who were late to realize the
significance of their contributions. Among them was John Coltrane, a saxophonist
who took these controversial approaches into unconventional musical territories.
Similar to the shortsighted criticisms weighed against his mentors, critics regarding
Coltrane neglected the ways in which his music is important as an expression of the
fundamental power struggles that are at the heart of American culture.
I analyze several of Coltrane's recordings to illustrate how they are artifacts
which can be studied for evidence of the tendency in narratives to preclude the "hybridity" important to the history of jazz. My focus is on the liner notes that
accompany the recordings, which I read "contrapuntally" with other forces in their
production in order to discuss the tensions between economics, communication and
representation that are integral to an understanding of Coltrane's music. / Graduation date: 1999
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The development of Duke Ellington's compositional style a comparative analysis of three selected works /Strother, Eric Scott, January 2001 (has links) (PDF)
Thesis (M.A.)--University of Kentucky, 2001. / Title from document title page. Document formatted into pages; contains viii, 69 p. : ill. Includes abstract. Includes bibliographical references (p. 67-68).
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Some liked it hot : the jazz canon and the all-girl bands in times of war and peace, ca. 1928-1955 /McGee, Kristin. January 2003 (has links)
Thesis (Ph. D.)--University of Chicago, Dept. of Music, Dec. 2003. / Includes bibliographical references. Also available on the Internet.
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African American musical avant-gardismBakriges, Christopher G. January 2001 (has links)
Thesis (Ph. D.)--York University, 2001. / Typescript. "Publisher's no.: UMI NQ67904." Includes bibliographical references (leaves 388-421). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67904.
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African American musical avant-gardismBakriges, Christopher G. January 2001 (has links)
Thesis (Ph. D.)--York University, 2001. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 388-421). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67904.
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"At once old-timey and avant-garde": the innovation and influence of Wilbur WareSeigfried, Karl Erik Haddock 28 August 2008 (has links)
Not available / text
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"At once old-timey and avant-garde" : the innovation and influence of Wilbur WareSeigfried, Karl Erik Haddock 05 August 2011 (has links)
Not available / text
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Mario Bauza swing era novelty and Afro-Cuban authenticity /Miller, Nathan Brad. January 2007 (has links)
Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 1, 2008) Includes bibliographical references.
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