archives@tulane.edu / 1 / April Goltz

This project deals with an alternative method of arranging music. The idea is to, with your instrument, play your way to an arrangement, without taking any notes, recording yourself or writing sheet music. This memory based technique will hopefully prevent you from getting stuck and, furthermore, make the process of creating music come more naturally. The goal with the project is to evaluate this way of arranging, and in addition to that, describe the process in such detail, that anyone could try it. / <p>Repertoar</p><p>Ack Värmeland du sköna - trad, 1822</p><p>Blame it on my youth - Oscar Levant, Edward Heyman, 1934</p><p>Ett glas öl - Originalmusik ”Round the Back of the Arches” av Desmond O’Connor och Kennedy Russell från 1941, Sv. text av Hasse Alfredsson och Tage Danielsson</p><p>Flickorna i Småland - Karl Williams, Fridolf Lundberg, 1912</p><p>En röd liten stuga - Sven Paddock, Eric Fryman, 1936</p><p>Så skimrande var aldrig havet - Evert Taube, 1948</p><p>Embraceable you - George &amp; Ira Gershwin, 1928</p><p>Slow boat to China - Frank Loesser, 1948</p><p></p><p>Medverkande</p><p>Sara Alexandersson - sång</p><p>Erik Tengholm - trumpet</p><p>Sebastian Jonsson - altsaxofon</p><p>Agnes Darelid - trombon</p><p>Björn Bäckström – tenorsaxofon</p><p>Daniel Gahrton – barytonsaxofon</p><p>Oscar Johansson Werre – trumset </p><p>Johan Tengholm – kontrabas </p><p>Martin Åklint – piano, sång, arrangering</p>

In this project, Edvin Fridolfsson has explored how to integrate the drums as a tool for composing - unlike before, when he mainly has composed by the piano. He has been interested in how the process of composing can affect his compositions, but foremost how it can affect his playing when performing his own music. A main goal for the whole project has been to make his compositions and his playing feel like one strong unit together. Fridolfsson describes how he has found a strategy for composing, which brings the drums into the process, but also makes external influences into new songs. Further, his way of putting a group together, rehearsing and the results of the final concert are described.  In the end, Fridolfsson concludes that his new ways of composing have made him more aware of what he wants to bring into the music as a drummer. He finds that the compositions in themselves sound in a similar way to his earlier works, but that the concert, as a whole, feels more variated and organic.

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Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-02

This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.

Cette recherche, en lien avec mes activités de pianiste, compositrice et chef d’orchestre, porte sur l’élaboration de l’œuvre de jazz symphonique. Le jazz symphonique a représenté un hybride musical et un terrain de recherche autour de l’espace sonore de l'orchestre. Il a été à bien des égards un précurseur dans l’exploration des possibilités pour créer une musique dans laquelle les approches et les préoccupations jazz et savantes entraient dans une dialectique productive. Le geste d’écriture qu'il a privilégié intègre alors la palette instrumentale comme un révélateur fondamental des structures musicales. Le compositeur élabore un processus musical qui permet au matériau de s’exprimer, de déployer ses potentialités expressives et perceptives par l’appréhension de l’espace orchestral. Identifier et comprendre les stratégies d’écoute que le compositeur destine à l’auditeur et la manière dont il potentialise la signification des éléments constitutifs de l’œuvre représentent un des principaux enjeux de la recherche. / This research relates to my pursuits as a pianist, composer and conductor, and concerns the development of the art of symphonic jazz. Symphonic jazz has represented a musical hybrid and a field of research around the soundscape of the orchestra. In many ways, it has been a forerunner in exploring the possibilities for creating music in which jazz and scholarly approaches and inquiries had entered into a productive dialectic. Hence the favoured approach to writing now integrates a variety of instruments as a fundamental revealer of musical structures. The composer creates a musical process that allows the material to express itself and spread its expressive and perceptive potential through comprehension of the orchestral space. Identifying and understanding the composer’s listening strategies for the listener, as well as the way he increases the meaning of the elements constituting the work is one of the main subjects of research.