Zugl.: Berlin, Univ. der Künste, Diss., 2006

Thesis (D.Mus. Arts)--University of Washington, 1985. / Vita. Bibliography: leaves [150]-157.

This paper considers the development of jazz and classical music, and the influence exerted by each genre on the other through the Symphonic Jazz era, the Third Stream movement, the Avant Garde movement, and multi-genre Fusion. This influence began in small doses but, by the time of the third stream movement, had culminated in jazz and classical music becoming equal partners and, with the onset of fusion, jazz and classical music melding to form a completely new genre. This paper considers some of the musical, and even sociological factors, that drove these two genres towards a point of convergence, as well as the musicians and composers who played a central role in this development. While this thesis considers how each genre affected the other, the focus is not on critiquing the result of such "fusions," especially those resulting from earlier "cross-over" attempts, but instead on recognizing the influence that existed and considering its significance both today and into the future. Works considered include La Creation du Monde by Milhaud, Piano Concerto by Copland, Rhapsody in Blue by Gershwin, The City of Glass by Graettinger, Sketch by John Lewis, Revelation by Charles Mingus, Transformation by Gunther Schuller and Still Waters by Anthony Davis. Lastly, this paper considers the continued emphasis on fusion in the 21st century and the effect thereon of the ever-increasing exposure individuals have to an incredibly wide variety of music, coupled with the emphasis and promotion of pop culture and the corresponding de-emphasis on the fine arts. The result, it is submitted, is the adoption by broadly educated performers and composers, cross-trained in various genres, of innovative sounds and techniques which are used to expand the canon of works in each genre. These developments into the 21st century will have the equal and Opposite effect of stirring renewed interest in the respective original genres, allowing the popular base of jazz and classical music to expand and regenerate. / Arts, Faculty of / Music, School of / 2 Cass / Graduate

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.

Thesis (D.M.A.)--University of Oklahoma, 1999. / Includes bibliographical references (leaves 143-154).

No description available.

Thesis (Ph.D.)--University of Adelaide, Elder Conservatorium, 2001. / Includes bibliographical references (leaves 350-359).

Methods of incorporating jazz in opera range from using simple blue notes and fox-trot rhythms, to utilizing jazz instruments, to employing elaborate passages of improvisation. Current definitions of "jazz opera" do not consider variations in the genre, which, because of their evolving nature and the varied background of their composers, are diverse. This study attempts to collectively discuss these third-stream works. Jazz rhythms and harmonies first appeared in the 1920s in the works of Gershwin, Harling, Krenek, and Freeman. In 1966, Gunther Schuller was the first composer to use improvisation in an opera, which has become the primary distinguishing factor. There has since been a tremendous interest in this genre by such jazz musicians as Dave Burrell, Anthony Davis, Duke Ellington, Max Roach, Anthony Braxton, George Gruntz, and Jon Faddis.

No description available.

This study explored the experiences of prominent jazz vocalists regarding the collaboration between the vocalist and pianist during duo performances. The work relationship between a jazz vocalist and accompanist is a unique phenomenon due to the improvisatory and collaborative nature of jazz. Effective co-performer interaction and communication are two essential components within an improvisational music setting. A spirit of spontaneity ir required in order for improvisation and interpretation to take place in real-time and on stage; aspects which cannot be duplicated or replicated during rehearsals. A qualitative research approach was employed by means of a collective case study, exploring the views and experiences of three prominent South African and three international jazz vocalists. Data was gathered through semi-structured interviews. Furthermore, artefacts including audio and audio-visual recordings of each of these performers were studied to ascertain aspects of the vocal-piano collaboration. Thematic data analysis presented four main themes: (1) individuality; (2) interactive relationships; (3) musicianship; and (4) the present moment. The findings revealed that the roles of both partners within the vocal-piano duo collaboration are evenly distributed, yet have distinctive functions. Each new performance between the same vocal-piano duo is an innovative execution, a skilful and artistic equilibrium. It embodies a companionship playing out on stage in view of an audience, yet with the subtle sharing of musical messages. / Mini Dissertation (MMus)--University of Pretoria, 2017. / UP Postgraduate fund / Music / MMus / Unrestricted