Thesis (M.A.)--York University, 2004. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 100-102). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL:http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:MQ99285

Thesis (M.A.)--York University, 2004. / Typescript. Includes bibliographical references (p. 100-102).

Thesis (M.A.)--Marshall University, 2009. / Title from document title page. Includes abstract. Document formatted into pages: contains 29 p.

Non-Nutritive Serial Varnish is a song written and arranged for big band which explores several stylistic and compositional techniques developed during the 20th century. Serial techniques are used as the structural underpinning during melodic presentation. Eventually these serial structures work their way to the surface to reveal themselves as source material. The salient aesthetic, overarching form and harmony are derived from conventional jazz. The use of semi-improvised melodic modules is also employed.

Thesis (Ed.D.) -- Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Sponsor: Harold Abeles. Dissertation Committee: Lenore Pogonowski. Discography: p. 228-230. Includes bibliographical references: (leaves 211-217).

200f.il. / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2012-07-18T14:19:27Z No. of bitstreams: 1 Cleisson Melo - Influencia do Jazz - Swing Era na Musica Orquestral - WEB.pdf: 2268566 bytes, checksum: eebf287a501f71693a8ee7deeb015427 (MD5) / Made available in DSpace on 2012-07-18T14:19:28Z (GMT). No. of bitstreams: 1 Cleisson Melo - Influencia do Jazz - Swing Era na Musica Orquestral - WEB.pdf: 2268566 bytes, checksum: eebf287a501f71693a8ee7deeb015427 (MD5) Previous issue date: 2010-02 / Este trabalho tem como objetivo investigar a influência das Big Bands (Jazz Orquestra) na música brasileira de concerto para orquestra entre 1935 a 1965, período de existência das Big Bands antes do movimento de revitalização (Revival) destas. Através da análise dos traços rítmicos, harmônicos, instrumentais e principalmente orquestrais, com diferentes abordagens composicionais, no intento de demonstrar estratégias compositivo-orquestrais adotadas emobras sob esta influência. Pretende ainda compor uma obra baseada na influência das big bands em dialogo com a música erudita contemporânea, inserindo estes dois conteúdos em uma ambientação sinfônica pequena de modo a extrair o máximo de recursos e sonoridade de uma instrumentação menor, demonstrando assim a riqueza desta influência. / Salvador

In this thesis I’ve explored my voice as an instrument in the big band’s different sections. Through many years I’ve experienced that I lack tools around how to approach singing in big bands. I often ask myself if my voice stands out in the soundscape or if it’s blending and becomes a part of the sections in the big band. The goal in this thesis is to understand how and in which way I can compose and perform my music to blend with the band. To investigate this, I’ve chosen to do a specific form of voice mapping in which I’ll locate options of vocal techniques and music parameters that later will become tools for singing with big band. I’ve put together a big band of my own and composed five pieces of music in which I’ll perform on my graduation concert. My result show that it comes down to the choice of vowels, airflow, vocal register and the art of being consistent. In the end of the report, I’ll discuss future improvements and things to take in consideration. / <p>Framfört på konsert:</p><p>"Bob's Birthday" (M. Svantesson)</p><p>"Mira's Song" (M. Svantesson)</p><p>"Alhambra" (M. Svantesson)</p><p>"La" (M. Svantesson)</p><p>"Blue" (M. Svantesson)</p><p>Medverkande:</p><p>Saxofon och träblås - Isac Schillberg, Erik Hasselfeldt, Eskil Larsson, Arvid Lundberg och Carl Lovar.</p><p>Trumpet och flygelhorn - Benjamin Sällström, Oskar Nordkvist, Linnea Jonsson och Tuva Trygged Iko</p><p>Trombon - Tilde Schweitzer, Melker Annas, Olle Arvidsson Eklind, Alexander Bjurström</p><p>Kompsektion - David Stener, Hugo Löf, Isaak Peyer, Rasmus Otto Ringdahl</p><p>Sång - Maja Svantesson</p>

Prenant comme objet d’étude le grand orchestre de jazz, notre thèse vise non seulement à l’appréhension des configurations instrumentales larges dans le jazz français (1945-2010) mais aussi à l’analyse des démarches adoptées par les musiciens hexagonaux vis à vis d’un organe du jazz a priori figé par la tradition, le big band. Après avoir établi les principaux modèles du big band américain et présenté ses évolutions, ont été mises en évidence les voies esthétiques tracées par les musiciens français au lendemain de la Libération. Alors que certains orchestres choisissent de s’exprimer à travers la formation consacrée durant la Swing Era (Claude Bolling, Jean-Claude Naude ou Jacques Denjean), d’autres ensembles prennent progressivement leurs distances par rapport aux modèles américains (Christian Chevallier). Enfin, certains musiciens adoptent encore plus clairement une attitude de rupture avec le format instrumental de référence (Jef Gilson ou André Hodeir). L’analyse musicologique a alors souhaité évaluer, d’une part, les gestes musicaux fondés sur la copie des grands maîtres et, d’autres part, les procédés permettant de s’affranchir d’un processus d’imitation normé pour fonder une voie plus personnelle. Plaçant au coeur de la réflexion, les concepts de solistes et d’arrangement ainsi que la dialectique filiation – invention, l’étude fait alors le point sur la transfiguration d’un organe du jazz jusqu’alors considéré comme normé. Perçus comme désuets dans les années 1970, les grands orchestres opèrent un formidable retour dans la France du début des années 1980. Cependant, cette renaissance semble s’accompagner de l’apparition de « grands orchestres » plus réduits. Au terme de la mise en évidence historique de ce phénomène, le travail a donc impliqué la recherche des causes ayant conduit à l’émergence de ces formats. Dans ce contexte, ont été questionnés les aspects socioéconomiques, les politiques d’aide à la création et la prééminence de la notion de projet, les progrès technologiques ainsi que les choix esthétiques. Enfin, alors que les notions d’individualité et de liberté semblent au fondement de l’émergence de ces nouveaux formats orchestraux, ont été l’analysées les stratégies développées par les musiciens afin de concilier une approche qui prenne mieux en compte les individualités créatrices sans pour autant renier la dimension collective de la pratique du jazz en grand orchestre. Puisant dans le répertoire des ensembles contemporains (Circum Orchestra, Diagonal, Pink Machine, MegaOctet, Radiation 10, le Sens de la Marche, Tous Dehors ou encore X’tet), l’étude a consisté à révéler les processus dynamiques régissant la pratique des grands orchestres de jazz français contemporains. / Taking big jazz orchestras as my study subject, this thesis looks not only at the apprehension of the wide instrumental configurations in French jazz (1945-2010) but also the analysis of the approach adopted by French musicians as regards the big band, a formation basically frozen in tradition. After having established the principal models of the American big bands and seen their evolution, the aesthetic paths made by the French musicians after the Liberation have been put in evidence. Whilst certain orchestras chose to express themselves in a formation considered sacred during the Swing era (Claude Bolling, Jean-Claude Naude or Jacques Denjean), other groups, one by one, distanced themselves from the American models (Christian Chevallier). Finally, the attitude of certain musicians clearly adopted a break from the basic instrumental format (Jef Gilson or André Hodeir). The musicological analysis has therefore wished to evaluate on the one hand the musical movement based on copying the grand masters, and, on the other hand, the procedures which allowed to break through the imitation process to create a more personal path. Placed at the heart of the thought was the concept of soloists and arrangements, as well as the filiation dialectic – invention, the study made the point on the transfiguration of the sound which had been considered the norm up until then. Seen as outdated in the 1970s, the big orchestras made a wonderful comeback in France at the beginning of the 1980s. Nevertheless, this 're-birth' seems to have been accompanied by the appearance of somewhat smaller 'big orchestras'. With historic evidence of this phenomenon, the work has involved research into the causes which led to the creation of these formats. Socio- economic aspects have been questioned in this context, as well as the politics of helping creativity, the mastery of the notion of a project and the technological progress as well as aesthetic choices. Finally, when notions of individuality and freedom seem to be the root of the birth of these new orchestral formations, the strategies developed by the musicians have been analysed to reconcile an approach which better takes into account the creative individualities whilst not denying the collective aspect of playing jazz in a big orchestra. Digging into the repertories of today's groups, (Circum Orchestra, Diagonal, Pink Machine, MegaOctet, Radiation 10, le Sens de la Marche, Tous Dehors or X’tet) the study has consisted of revealing the dynamic processes governing the activity of today's big French jazz orchestras.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 539-569). Available also in a digital version from Dissertation Abstracts.

AN ABSTRACT OF THE THESIS OF José E. Guzmán Borrero, for the Master of Music degree in Music Theory and Composition, presented on April 8, 2016, at Southern Illinois University Carbondale. TITLE: ISOCHRONAL: A SUITE FOR JAZZ ORCHESTRA MAJOR PROFESSOR: Dr. Christopher Walczak The suite is a three movement composition for jazz orchestra in which I integrate contemporary compositional methods with the harmonic idioms of the jazz genre. The first movement, “Flight,” takes a minimalist (ca. 1970-1990) approach through the beginning of the piece, then incorporates a development section reminiscent of music from the Classical period with the use of two and three voice counterpoint. Followed by a traditional jazz solo section. The second movement, “'Round Ten” is a ballad featuring the post-tonal compositional method of dodecaphony (ca. 1925-1950) in tandem with melodic and harmonic jazz expressions reminiscent of Thelonious Monk. My compositional use of tone rows is similar to the methods of Benjamin Britten and Alban Berg, who used the row as a compositional guideline or tool. This is unlike the initial use of the row by its founder, Arnold Schoenberg, which restricted the composer by the necessity of using all twelve pitches (with no emphasis on a tonal center) and using it in a predetermined order. The ballad section of the second movement is similar to Thelonious Monk's music in its use of non-harmonic tones and sharp dissonances mixed with a repetitive melodic contour. The third and final movement, “Lights Out!” is an up-tempo piece that uses the dense harmonies reminiscent of Don Menza and Thad Jones’ arrangements. The harmonic structure of the piece is from the modal jazz period of the 1960s in which composers pushed the boundaries of the typical 32-bar song format. The melodic material in this movement includes material from the two previous movements.