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1	The creative symbiosis of composer and performer (An examination of collaborative practice in partially improvised works) Melvin, Andrew January 2010 (has links) This thesis comprises a portfolio of compositions with supporting commentary in addition to a general commentary on past and contemporary models of performance practice. The compositions all use elements of improvisation and are documented in recorded and score formats. Recordings and discussion of the rehearsal process of these works are also included. The thesis is divided into four parts. The first, entitled ‘Context’, examines issues of performance practice through reference to both historical and contemporary models. In this regard, particular attention is given to the work of Miles Davis and Peter Wiegold. Parts 2, 3 and 4 consist of the portfolio of original compositions with sub-headings as follows: ‘Beginnings’, ‘Transition’ and ‘Current Projects’. As a part of the commentary on the portfolio, the role of the performer as creative artist will also be examined. 700
2	Graduate Recital, Piano Murray, Benjamin 19 September 2012 (has links) My recital will feature jazz music from different decades in the 20th century. The program will feature well known jazz standard tunes from influential artists such as John Coltrane, Joe Henderson, Miles Davis, Steve Swallow, and others. The program will include both solo jazz arrangements for piano such as ��Alone Together��, ��Quiet Now��, and ��Falling Grace�� as well as jazz combo arrangements featuring drums, bass, and trumpet. The jazz music will include different styles of jazz such as ��swing��, ��modal��, and ��bebop��. In doing so, this will allow me to demonstrate a variety of ways to play and improvise over the various songs adding to the listener experience of the recital. The recital will also include improvisational solos by other combo members including drum solos, trumpet solos, and bass solos. / Mary Pappert School of Music; / Music Performance / MM; / Recital;
3	Sound, Mediation, and Meaning in Miles Davis's "a Tribute to Jack Johnson" Smith, Jeremy Allen 11 December 2008 (has links) <p>Miles Davis, never one for self-effacing humility, took his boasting to new heights when he proclaimed in a <i>Rolling Stone</i> interview from December 1969, "I could put together the greatest rock and roll band you ever heard." Most critics agree that <i>A Tribute to Jack Johnson</i>, recorded between February and April of 1970, was his attempt to do just that. The album featured an ensemble that was closer to a rock power trio than a jazz quintet, musicians who were as schooled in rock and R&B as in jazz, and a prominent use of emerging instrument and studio technologies previously unheard in Davis's music. In highlighting these stylistic markers, <i>A Tribute to Jack Johnson</i> made definitive the musical transition that Davis's immediately preceding works had set in motion. </p><p> Though few fans of the era would have been surprised by Davis's invocation of the value-laden vocabulary of "greatness" in describing his music, many were taken aback by his desire to associate with rock and roll. For a musician trained in the jazz tradition and revered as a master of the genre, the intentional incorporation of influences from popular music was viewed by many jazz listeners as nothing short of heretical. What did it mean, then, for Davis to make such a claim - and such an album - at the particular time that he did? </p><p> To address these two questions, I investigate in my dissertation the production, circulation, and reception of both the stand-alone album <i>A Tribute to Jack Johnson</i> and the documentary film for which parts of the album were initially the soundtrack. Combining my training in music with scholarly perspectives on identity politics, technology studies, film studies, and African American social and political history, I demonstrate how this recording comprises both a signal incursion into accepted jazz practice, and a unique window onto vital debates around jazz, popular culture, and identity constructions in the U.S. in the early 1970s. This dissertation thereby offers one approach for continuing the critical re-evaluation of fusion jazz that has prominently been in progress since the late 1990s.</p> / Dissertation Music Miles Davis jazz fusion electric jazz Jack Johnson
4	Hearing Miles Davis: A Pedagogy of Autobiographical Performance and Jazz McRae, Chris 01 May 2011 (has links) This dissertation argues for a relational ethic of listening that emphasizes the pedagogical role of the listener as a student in dialogically hearing, producing, and responding to the other. This ethic of listening works to hear possibilities amongst differences, and to ethically account for and learn from the cultural, historical, and embodied differences of the other as they are produced relationally amongst macro-structures and micro-practices. In order to develop this ethic of listening, I pay specific attention to my solo autobiographical performance, Miles away from "The Cool," in which I present my autobiographical and musical reading of the autobiography of trumpet player Miles Davis, Miles. This performance and my research regarding the music, life story, and cultural significance of Davis functions as an example for my development of a listening centered approach to pedagogy. Listening to jazz and the music of Davis provides an approach to hearing possibilities as they are enabled and constrained by larger macro-structures and specific micro-practices. I argue this approach to listening can be extended to research regarding autobiography and geographic location. Listening to autobiography and location can enable a critical and ethical understanding of the ways history, context, and power play on bodies in jazz, autobiography, location and autobiographical performance. After explaining this relational ethic of listening in terms of autobiography and jazz, I make the case for listening as a performative act in which as listeners we are always students to the other. Performative listening is a critical communicative act that works to ethically and pedagogically hear and learn from the other. Performative listening emerges from a relational ethic of listening, and it is a productive pleasure that works to hear possibilities in and amongst differences. autobiography critical communication pedagogy listening Miles Davis music performance performance studies
5	Miles Davis: The Road to Modal Jazz Camacho Bernal, Leonardo 05 1900 (has links) The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music? Miles Davis jazz modal music Davis, Miles. Musical intervals and scales.
6	Transkription till improvisation : En studie i utvecklande av improvisationsteknik / Transcription to Improvisation – A Study in Development of Improvisational Techniques Isaksson, William January 2022 (has links) I den här undersökningen har jag fördjupat mig i två framstående jazzmusikers improvisationergenom transkribering och analys. Med hjälp av egenproducerade backing tracks har tre egna improvisationer därefter spelats in i syfte att undersöka instuderingens inverkan på min egen musikaliska praktik och mina konstnärliga val därtill. De tre egna improvisationerna har haft olika utgångspunkter i avsikt att kunna jämföras med varandra. Arbetet har resulterat i nya insikter om mig själv som improvisatör, en djupare förståelse för Miles Davis och John Coltrane samt bidragit till ny konkret kunskap för improvisation på Rhythm Changes. hardbop improvisation John Coltrane Miles Davis Rhythm Changes transkribering Music Musik
7	What is "Jazz Theory" Today? Its Cultural Dynamics and Conceptualization Goecke, Norman Michael 18 August 2014 (has links) No description available. African American Studies Music Music Education African Americans jazz jazz theory jazz education music education African American Studies African American and African Studies African American culture Jamey Aebersold David Baker black music jazz pedagogy Miles Davis Jack Teagarden Ornette Coleman
8	Sonic Overlook: Blackness between Sound and Image Linscott, Charles P. 17 September 2015 (has links) No description available. African American Studies American Studies Art Criticism Black Studies Film Studies Music Motion Pictures blackness race sound studies visual culture cinema popular music critical theory ontology Miles Davis John Akomfrah visuality jazz remix hip hop noise blues Fred Moten Symbiopsychotaxiplasm BAFC film sound Killer Mike DJ Spooky

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