Thesis (Ph. D.)--York University, 2004. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 346-367). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99266.

System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 259-273).

Submitted by Alexandre de Souza Vieira (lxndrvieira@gmail.com) on 2018-04-25T16:10:42Z No. of bitstreams: 1 TCF Alexandre de Souza Vieira revisado.pdf: 632378 bytes, checksum: 958f93f0a0a6956bdbf079203cf22e3c (MD5) / Approved for entry into archive by Nilson Nascimento Souza (nilson@ufba.br) on 2018-05-14T11:57:11Z (GMT) No. of bitstreams: 1 TCF Alexandre de Souza Vieira revisado.pdf: 632378 bytes, checksum: 958f93f0a0a6956bdbf079203cf22e3c (MD5) / Made available in DSpace on 2018-05-14T11:57:11Z (GMT). No. of bitstreams: 1 TCF Alexandre de Souza Vieira revisado.pdf: 632378 bytes, checksum: 958f93f0a0a6956bdbf079203cf22e3c (MD5) / Este trabalho tem como objetivo investigar a integração do canto, como instrumento e como ferramenta de criação, ao contrabaixo acústico, seja em performance solo, na improvisação, ou em ambos, ajudando na comunicação das ideias musicais e induzindo a um fraseado mais "melodioso" e inteligível; analisar especificamente o uso da voz aliado ao contrabaixo, considerando que já é uma ferramenta utilizada por diversos músicos no ambiente jazzístico. O timbre do contrabaixo, comparado a outros instrumentos que ocupam a linha de frente, muitas vezes não consegue ter a mesma penetração e clareza na exposição das ideias melódicas, o que interfere de forma decisiva na comunicação musical. A análise de métodos de improvisação e gravações de alguns instrumentistas mostram que o desenvolvimento de ideias partindo da via oral levam à frases musicais que se aproximam da comunicação verbal proporcionando maior inteligibilidade do conteúdo sonoro. A pesquisa é composta por um disco autoral com seis temas inspirados por essa sonoridade, um memorial descritivo do processo de elaboração do disco e um artigo sobre o contrabaixista cantor como solista no jazz. / This work aims to investigate the integration of singing, as an instrument and as a creative tool, to the double bass, either solo performance, improvisation, or both, helping in the communication of musical ideas and inducing a more "melodious" and intelligible phrasing; specifically analyze the use of the voice allied to double bass, considering that this is already used as a tool by several musicians in the jazz scene. The timbre of the double bass, compared to other instruments that occupy the ”front line”, often fails to have the same penetration and clarity in the exposition of melodic ideas, which interferes in a decisive way in the musical communication. The analysis of improvisation methods and recordings of some musicians shows that the development of ideas starting from orality lead to musical phrases that approach the verbal communication providing greater intelligibility of the musical content. The research is composed by an album with six unreleased themes inspired by this sonority, a descriptive memorial of the process of writing and performing to the disc and an article about the doublebass player and singer as a jazz soloist.

Målet med detta arbete är att undersöka hur man kan spela jazz i duo med saxofon och piano. Undersökningen är baserad på en månad med repetitioner och en studioinspelning. Undersökningen är inspirerad av deltagande observation och introspektion. Ett av undersökningens resultat är att det i en jazzduo kan det vara fördelaktigt att i improvisationenistället för att använda ackordföljden som "karta" använda sig av kompositionens melodi. Olika sätt att bryta instrumentens enligt konventionen inom jazz givna roller i improvisationen diskuteras också.

abstract: New music is often created as a product of commissions resulting in a collaborative effort between the performer and the composer. This performer-composer relationship represents an important component of the role of the artist in expanding the repertoire of the instrument. Belgian composer, Norbert Goddaer (b. 1933), has written numerous works for clarinet that are the result of such collaborations. Mr. Goddaer's works for clarinet are well-crafted and audience-friendly, and are thus good programming choices for students and professionals alike. His clarinet works have been performed worldwide in artist recitals, conferences for organizations such as the International Clarinet Association, The Midwest Clinic, and the Texas Music Educators Association, and have been commercially recorded and released by some of the foremost contemporary clarinet artists. These works have a great education value given the fact that they are appropriate choices for such a wide range of clarinetists. In an effort to contribute to this body of performance history, the author has produced a recording of five of Goddaer's previously unrecorded works, accompanied by a performance guide to each work. This document provides detailed performance notes with corresponding musical examples, basic formal analyses, and musical suggestions for Las Mañas, Conversations, Ballad, Duets, and Restless by Norbert Goddaer. The author has included a full transcript of an interview with Norbert Goddaer, which includes a first-person discussion of each work, and additionally includes biographical information supported by concert programs and an annotated list of all of Goddaer's works for clarinet, and a discography of his works for clarinet. / Dissertation/Thesis / D.M.A. Music 2012

This master’s thesis deals in the development of jazz in terms of traditional and new and innovative influences especially from the perspective of a professional jazz musician acting on the Czech jazz scene. So mapping the general influence of traditions and innovations in the world and deeply deals with the influence of the Czech jazz musicians across generations.

In this dissertation, I examine Stevie Wonder's compositional style from his celebrated "classic period," (1972-1976) focusing specifically on the concentrated two-year time span from 1972-1974 marked by his unparalleled creative output that launched him into superstardom. My study operates on the premise that most melodic relationships are governed by a fundamentally pentatonic process and that harmonic relationships are largely governed by jazz-influenced tonal processes. I have transcribed dozens of examples from the time period under review in order to survey the expressive interaction between these two related but distinct systems and the resulting effect their usage has on melody and harmony. Using Schenkerian reductive analysis as my primary tool, I uncover recurring patterns that shape and shed light on his style. The final chapter of this study focuses on the ways in which Wonder's improvised melodic lines relate to the voice-leading framework of the basic melodic ideas in his performance of "I Love Every Little Thing About You" and also the ways in which his improvisation impacts forward motion in the course of this song.

Made available in DSpace on 2016-08-29T14:11:01Z (GMT). No. of bitstreams: 1 tese_7657_Tese Maria Rocío.pdf: 12715149 bytes, checksum: 2d3856ee4faa20a0d1db1d244d645f3b (MD5) Previous issue date: 2014-05-27 / La presente Tesis parte de un acercamiento poliédrico al blues y al jazz como temas literarios, como ritmos transgresores, como espacios de reivindicación y como estandartes de la música que surgió del contacto cultural en la diáspora. Se explora La influencia de estos géneros musicales en tres obras literarias de cada una las siguientes autoras: Toni Morrison, Alice Walker y Gayl Jones. Estos textos literarios, publicados principalmente entre los años setenta y principios de los ochenta del siglo XX, son uma buena muestra de la influencia del legado de las cantantes de blues, de los ritmos sincopados del jazz y de la cultura vernácula de las personas afro-estadounidenses. Las escritoras rompen con la tradición literaria de vincular el blues y el jazz a autores masculinos y protagonizan el renacer literario femenino negro de los años setenta. Esta investigación aúna la crítica feminista negra, los estudios literarios y lãs historias de la música negra, para determinar el papel del blues y el jazz como testimonios de la resistencia ante la desigualdad de raza, clase y género, esta última visibilizada por las cantantes de blues primero y por las autoras objeto de estúdio después. Asimismo, se hace especial énfasis en el trasfondo social de la música que sonaba en el momento histórico en el que las autoras sitúan la trama de los textos.

Master of Music / School of Music, Theatre, and Dance / Frank Tracz / The following report is an in depth research and analysis project based on the graduation requirement for a Masters in Music degree from Kansas State University. The product of this project was a performance at the Iowa Jazz Championships by the Xavier High School Jazz Band One (Cedar Rapids, IA), Kelli L. Swehla, director. This performance was held on March 31, 2015, at the Community Choice Credit Union Convention Center (part of the Iowa Events Center), in Des Moines, IA. The repertoire included Hay Burner by Sammy Nestico, A Child Is Born by Thad Jones, The Next Chapter by Patty Darling and Uchibeng Wow-Wow by Michael Philip Mossman. The theoretical, historical and technical analyses of this process were collected using the Unit of the Teacher Resource Guide, developed by Richard Miles and the Macro, Micro, Macro score analysis form developed by Dr. Frank Tracz. This report also includes documentation of the planning and evaluation of each rehearsal.

Syftet med den här studien var att få en överblick om hur gitarrlärare undervisar jazz på estetiska programmet med inriktning musik. Detta är en kvalitativ studie där tre gitarrlärare från södra Sverige intervjuades för att få fram det empiriska materialet. Resultatet visar på att lärarna har olika tankar kring genren jazz i ett undervisningsperspektiv och att lärarna är rätt likasinnade när det kommer till hur jazz i gitarrundervisningen skall bedrivas. Resultatet visar även att planeringsstadiet för lärarna har mycket med individen att göra, alltså eleven eller eleverna som de undervisar styr väldigt mycket. Lärarna i resultatet pratar även om vilka elever det är som fastnar för att spela jazz och hur de introducerar jazzen till elever som inte är vana att lyssna på jazz. / The purpose of this study was to make an overview of how contemporary guitar teachers instruct jazz at the aesthetics program with music orientation. This is a qualitative study where three guitar teachers from southern Sweden were interviewed to receive the empirical material to discuss how jazz is introduced for students. The result shows that the teachers have different viewings on the genre jazz in a teaching environment, however that the teachers are somewhat like-minded in their way of educating their students in the jazz genre. The results also shows that during the planning stages of the lessons the student in question have a great deal to do with how the education is brought out. The teachers also shed lights on what sort of students that get a growing interest for playing jazz and how they work with students that are not used to listening to jazz music.