Made available in DSpace on 2016-12-08T17:06:44Z (GMT). No. of bitstreams: 1 115698.pdf: 45824073 bytes, checksum: dfec466a8000268236eb207712729e20 (MD5) Previous issue date: 2014-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Arquivo protegido, não foi possível copiar resumo

This project aims to explore and substantiate the approach which I use in composing, practicing and improvising, from the perspective of me as a saxophone player with perfect pitch. This will be done through writing music and describing the process, my own practicing and the rehearsals in preparation for the examination concert. The approach relies on a musician´s ability to, like a painter, have a clear vision of the end result imagined. This is a big advantage as opposed to only knowing the rules and the norms regarding composing and improvising, as the musician then can have a clear idea of a sound which then can be performed, for example a musical melody that the musician can hear before playing it. The question I ask myself is how this ability can interact, and perhaps form a symbiotic relationship, with other abilities such as knowledge of music theory and the limits of my technical ability on my instrument and how I as a musician can learn from this in order to advance as an improviser and a composer. This project is done through my perspective as a saxophone player. / <p>Medverkande på examenskonsert:</p><p>Mikael Emilsson - Saxofon</p><p>Oskar Lindström - Piano</p><p>Jonathan Lundberg - Trummor</p><p>Henrik Linder - Elbas</p><p></p><p>Repertoar: </p><p>Stronger Prologue - Mikael Emilsson</p><p>Double Bag - Mikael Emilsson</p><p>Tryna Sleep - Mikael Emilsson</p><p>Giant Steps - John Coltrane</p><p>Looser - Mikael Emilsson</p><p>We Make Party When We See Us - Henrik Linder/Erik Linder</p><p></p><p>Konserten spelades in och ljudfil finns bifogad.</p>

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, 2009. / Submitted by Allan Wanick Motta (allan_wanick@hotmail.com) on 2010-06-11T18:21:10Z No. of bitstreams: 1 Dissertacao - Pablo Garcia.pdf: 4604347 bytes, checksum: dd1264057ad9b3768c602fe156f74a57 (MD5) / Approved for entry into archive by Lucila Saraiva(lucilasaraiva1@gmail.com) on 2010-06-24T01:17:46Z (GMT) No. of bitstreams: 1 Dissertacao - Pablo Garcia.pdf: 4604347 bytes, checksum: dd1264057ad9b3768c602fe156f74a57 (MD5) / Made available in DSpace on 2010-06-24T01:17:46Z (GMT). No. of bitstreams: 1 Dissertacao - Pablo Garcia.pdf: 4604347 bytes, checksum: dd1264057ad9b3768c602fe156f74a57 (MD5) Previous issue date: 2009 / Este trabalho possibilita a análise e compreensão, além da própria produção musical de K-ximbinho, dos contextos pelos quais passou o compositor, percebendo elementos fundamentais para a sua formação, com quem conviveu e pessoas influentes na sua formação musical e atuação profissional. Busca-se entender também a noção de significado musical a partir do discurso do compositor, que define prática e gênero musical, estabelecendo os critérios que promovem a modernização e inovação do samba e do choro pela presença do jazz em suas obras. São observados e analisados os processos e questões relacionadas à mistura de elementos musicais e extra-musicais, aqui principalmente fundamentados pelo conceito de hibridação cultural e globalização, de Garcia Canclini. _______________________________________________________________________________ ABSTRACT / This research aims to analyze and understand, alongside with the music produced by K-ximbinho, the contexts through which the composer was immersed, noticing key elements to his development, such as people with whom he lived and ones that influenced his musical training and professional performance. It also proposes a reflection on the notion of musical meaning from the composer point of view, which defines genre and musical practice, establishing criteria to promote modernization and innovation of Samba and Choro by the presence of Jazz in his works. Processes and issues related to the mixture of musical and extra-musical elements, based here primarily by the Garcia Canclini’s concept of cultural hybridization and globalization.

abstract: This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets. / Dissertation/Thesis / D.M.A. Music 2013

abstract: Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close. / Dissertation/Thesis / D.M.A. Music 2013

abstract: The Vocal Jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate Vocal Jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the Vocal Jazz ensemble. The discussion relies on recent data showing the benefits of Vocal Jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training. / Dissertation/Thesis / D.M.A. Music 2013

<p>Allting har spelats in och filmats i en lokal i Mjölby. Arbetet består av olika transkriptioner av trumsolon från Max Roach och Matt Wilson.</p><p>"Wee See" - Musik: Thelonious Monk. (Matt Wilson drumsolo)</p><p>"Alone Together" - Musik: Arthur Schwartz. Text: Howard Dietz. (Matt Wilson)</p><p>"Stompin' At The Savoy" - Musik: Edgar Sampson. (Max Roach drumsolo)</p><p>"Mop Mop" - Max Roach. (Max Roach drumsolo)</p>

I arbetet har jag valt att fördjupa mig själv inom jazzduetter, då detta är något jag aldrig utsatts förtidigare. Genom att arbeta tillsammans med fyra andra musiker, i fyra olika duetter, har jag ställt migsjälv framför allt tre frågor som jag hade kring jazzduett. När trummorna är borta, hur anpassar jagmig då till time och rytmik? När det inte finns några ackordsinstrument med i bilden, hur förhåller jagmig då till ackorden och harmoniken? Slutligen sökte jag också svar på hur jag själv kan arrangera enjazzstandard för duett.Jag spelade tillsammans med en gitarrist, en pianist, en sångerska samt ytterligare en kontrabasist.Med dessa fyra olika uppsättningar har jag spelat in varje repetitionstillfälle för att utvärdera mitteget musicerande samt använt mig utav inspelningarna för att skapa och förbättra minaarrangemang till vår repertoar. Tillskillnad från de andra duetterna skapade jag inga arrangemang tillkontrabasduetten, utan jag använde mig av arrangemang skrivna av den amerikanske basistenMichael Moore.Under arbetets tid har jag hittat verktyg som passar bra för mig när det kommer till time och rytmik,samt ett förhållningssätt till ackord när ackordsinstrument inte är närvarande. Jag har dessutomhittat verktyg som hjälpt mig arrangera för jazzduetter och framförallt anledningar till att arrangeraför specifika ändamål.

Orientadores: Ricardo Goldemberg, Marcos Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T10:36:03Z (GMT). No. of bitstreams: 1 MedeirosFilho_JoaoBarretode_M.pdf: 3325803 bytes, checksum: 50bea3e70ce53f9d65a226f4a16c01c7 (MD5) Previous issue date: 2002 / Resumo: Este trabalho compreende o desenvolvimento de um método de Guitarra voltado para o estudo da improvisação musical. Ele é baseado no desenvolvimento melódico de diagramas na escala maior e nos modos lídio e dórico. O objetivo primordial é desenvolver argumentos, ou seja, idéias melódicas baseadas no estudo intervalar, que demonstrem o aspecto criativo na construção de melodias dentro dos diagramas da escala e modos especificados. Assim, a proposta tem a pretensão de oferecer uma contribuição ao ensino desse instrumento,mais especificamenteno Brasil, onde é detectada uma grande carência de bibliografia pedagógica nessa área / Abstract: This study consists in the developmentof a methodfor leaming electric guitar with a focus on musical improvisation. It is based on the melodic development of diagrams in the major scale and the Iydian and dorian modes. The main objetctive is to develop arguments, that is, melodic ideas based in the study of the intervals, that will show the creative aspect in the construction of melodies inside the specified scale or modes diagrams. Therefore,this proposal has the intention of giving a contributionto the teaching of this instrument, specifically in Brazil, where a significant lack of pedagogicalliteraturecan be detected. / Mestrado / Mestre em Artes

Mitt intresse för soloimprovisation kom när jag för några år sedan såg en video på YouTube med en trummis som heter Joey Baron. I klippet spelar han en solokonsert på cirka 40 minuter. Det gjorde att jag själv ville utforska improvisation. Syftet med mitt examensarbete har varit att utveckla och sammanställa övningsstrategier för soloimprovisation på trumset. Detta för att kunna bli en bättre improvisatör med fler verktyg än vad jag hade innan och få bättre förståelse för trumsetet som instrument. Jag har utforskat trumsetets olika sound, orkestrering och melodiska möjligheter genom övningar som jag har hittat på internet eller fått av lärare. Det hela mynnade ut i en solokonsert som hölls den 23 februari 2017 i Piteå.