Este trabalho tem como objetivo estudar as peculiaridades da tradição oral africana e suas influências na criação do jazz. Os africanos, sendo um povo onde sua cultura tem como principal característica enfatizar o emprego da oralidade na transmissão do conhecimento, o faz de forma muito distinta aos padrões culturais europeus. Sob a ótica do povo africano, a palavra expressa de forma oral possui um grande valor, sendo atribuído à mesma, um nível de relevância tamanho que chega a ser vista como um elemento místico capaz de criar ou até mesmo destruir. Os africanos, presentes em solo americano, pela imposição da escravidão, fundiram seus elementos culturais à cultura européia, dando luz uma nova concepção musical, o jazz. O jazz desde sua criação até os dias atuais, passou e passa por diversas transformações. Estas transformações, mesmo que de forma implícita, contribuem para que o jazz esteja presente nas mais diversas manifestações culturais. O jazz não pode ser considerado apenas um gênero musical de origem americana. O jazz está presente em diversas partes do mundo, inclusive no Brasil, onde se torna renovado devido à riqueza e diversidade cultural deste país. / This work studies the peculiarities of the oral African tradition and his influences in the creation of the jazz. The Africans, being a people where his culture has like principal characteristic emphasizes the job of the orality in the transmission of the knowledge, it does it in the very different form to the cultural European standards. Under the optics of the African people, the definite word of oral form has a great value, when attributed to same, a so great level of relevance that comes being seen like a mystic element able to create or even to destroy. The Africans, presents in American ground, for the imposition of the slavery, fused his cultural elements to the European culture, giving there shines a new musical conception, the jazz. The jazz from his creation up to the current days, passed and it suffers several transformations. These transformations, even that in the implicit form, they contribute so that the jazz is present in more several cultural demonstrations. The jazz cannot be considered only a musical type of American origin. The jazz is present in several parts of the world, including in Brazil, where it becomes renewed due to the wealth and cultural diversity of this country.

Orientadores : Antonio Rafael Carvalho dos Santos, Jonatas Manzolli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T02:00:32Z (GMT). No. of bitstreams: 1 Gimenes_Marcelo_M.pdf: 971618 bytes, checksum: aebcc3ad5bd2806c77019c43a93d052b (MD5) Previous issue date: 2003 / Resumo: Este trabalho tem como principal objetivo investigar o estilo musical no jazz através da identificação de estruturas verticais encontradas na obra de um dos grandes expoentes do jazz moderno, o pianista Bill Evans. Demonstramos a maneira como Evans distribuía as notas espacialmente em suas improvisações através da análise de seis transcrições de gravações efetuadas em diversos momentos de sua carreira. Através delas procuramos estabelecer características especificas, coerentes e particulares do seu estilo musical. As estruturas verticais foram identificadas, avaliadas e categorizadas através de uma metodologia própria e extremamente objetiva que utilizou recursos computacionais como informações de nota ("note number") extraídas de arquivos MIDI e planilhas eletrônicas para organização dos dados. Os resultados desta pesquisa foram, finalmente, confrontados com análises que outros pesquisadores fizeram anteriormente através de técnicas mais tradicionais. A sistematização desse conhecimento mostrou-se essencial como ferramenta que visa à compreensão do modus pensandi de um determinado artista. Pode ela ser inserida em contextos de pesquisa mais amplos para a percepção da organização musical de maneira mais completa. / Abstract: The main objective of this work is to investigate the musical style in jazz through the identification of vertical structures found in the work of one of the great exponents of modern jazz, pianist Bill Evans. We demonstrated the way Evans distributed the pitches spatially in his improvisations through the analysis of six transcriptions of recordings made in several moments of his career. Through these transcriptions we tried to establish specific characteristics, coherent and peculiar to his musical style. The vertical structures were identified, evaluated and classified through a particular and objective methodology that used computer resources as note information ("note number") extracted from Midi files and electronic spreadsheets for organizing the data. The results of this research were, finally, confronted with analyses that other researchers did previously through more traditional techniques. The systemization of this knowledge was shown essential as a tool that seeks to the understanding of a certain artist's ¿modus pensandi¿. It can be inserted in wider research contexts for the perception of musical organizations in more complete ways / Mestrado / Mestre em Artes

The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography.

Arising out of the avant-garde jazz tradition, a particular genre of solo saxophone music has emerged that combines stylistic attributes of avant-garde jazz and improvisation with minimalism, and is dependent on circular breathing, harmonic manipulation, and other techniques. To distinguish the music and the saxophonists and composers associated with it I have referred to this genre as "post avant-garde." With its roots ultimately in avant-garde jazz of the 1960s, this genre arose through the solo improvisation work of Evan Parker from the 1970s to present, and the music has since been an influence on the work of Colin Stetson and other artists, as well as composers including Gordon Fitzell and Alex Mincek. This document examines a previously unacknowledged but distinct genre of solo saxophone music, as well as the music of associated artists and composers.

Syftet med studien är att utifrån ett designteoretiskt perspektiv utforska vilka resurser jag använder mig av för att transponera en jazzlåt till olika tonarter. Forskningsfrågorna är: Vilka resurser använder jag mig av för att transponera en utvald jazzlåt till olika tonarter?  På vilka sätt samverkar resurserna? För att studera min lärandeprocess har jag använt mig av loggbok och videodokumentation som metoder, och studiens teoretiska perspektiv är designteori. Resultatet visar att min lärandeprocess kan beskrivas i två olika transformationscykler. Dessa cykler har jag valt att benämna som transformationscykel 1a och 1b. Transformationscykel 1a beskriver de resurser som används vid transkribering och Transformationscykel 1b beskriver de resurser som används vid transponering. Den första cykeln 1a, presenteras med hjälp av tre teman: Iscensättning, Från dator till öra och Från öra till hand. Den andra, 1b, presenteras med hjälp av fyra teman: Transponering ifrån A-dur till C-dur, Problem under transponering, Transponering till fler tonarter och Transformering av tidigare kunskap. I diskussionskapitlet diskuteras resultatet ur ett designteoretiskt perspektiv. Där vidrörs även frågan om strategier vid transponering varvid dessa jämförs med tidigare litteratur och forskning inom området. Slutligen redogörs för mina egna reflektioner kring arbetet, arbetets betydelse och fortsatta forsknings - och utvecklingsarbeten. / The purpose of this study is based on a design theoretic perspective, exploring what resources I use when transposing jazz tunes to different keys. The research questions are: What resources do I use to transpose a selected jazz tune to different keys? In what ways interact the resources? To study my learning process, I have used the logbook and video documentation, and the study's theoretical perspective is the design theory. The result shows that my learning process can be described in two different transformation cycles. These cycles, I have chosen to call the transformation cycle 1a and 1b. Transformation cycle 1a describes the resources used for transcription, and Transformation cycle 1b describes the resources used for transposing. The first transformation cycle 1a is presented by means of three themes: Staging, From the PC to the ear and From ear to hand. The other cycle, 1b, is presented by means of four themes: Transposing from A-flat major to C major, Problems during the transposing, Transposing to other keys and Transformation of previous knowledge. The discussion chapter discusses the results from a design theoretic perspective. The discussion also touches questions of strategy about transposing, which these being compared with the previous literature and research in the area. Finally, an account is given of my own reflections on the work, the importance of work and further research and development work.

Orientador: Claudiney Rodrigues Carrasco / Acompanha 1 DVD-R DL Recordable / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T13:55:55Z (GMT). No. of bitstreams: 1 Chritaro_GustavoRocha_D.pdf: 20149309 bytes, checksum: 3b8182c984c86cdd31b1685224279674 (MD5) Previous issue date: 2015 / Resumo: O presente trabalho examina a transformação do agenciamento do jazz pela música de cinema na produção cinematográfica da década de 1950, a partir da trilha musical que Alex North compôs para o filme Um Bonde Chamado Desejo. A metodologia consistiu na reconstrução crítica do contexto histórico, no ajuste conceitual das interpretações possíveis para o jazz, e num conjunto de técnicas de análise musical. A diversidade de técnicas de análise se justifica pela sobreposição entre as técnicas de composição que constituem a poética de North, e esta irredutível complexidade é justamente um dos fatores que dá causa à existência deste trabalho. North é apontado por unanimidade como o compositor que inaugurou uma forma ampla de agenciamento para o jazz, e procuramos aprofundar o conhecimento que se tem acerca da contribuição dele / Abstract: This paper examines the transformation of jazz employment by film music composers in the cinematographic production of the 1950s, taking as reference the soundtrack that Alex North composed for the film A Streetcar Named Desire. The methodology consisted in critical reconstruction of the historical context, conceptual adjustment of the possible interpretations of jazz, and a set of techniques of musical analysis. The diversity of analytical techniques is justified by the overlap between the composition techniques that constitute North's poetic , and that irreducible complexity is an important factor giving rise to the existence of this work. North is appointed unanimously as the composer who ushered in a broadly usage of jazz, and here we seek to deepen the knowledge about his contribution / Doutorado / Fundamentos Teoricos / Doutor em Música

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?

an autoethnographic exploration, this study aimed to determine how I (the researcher) could enhance the learning experience of tertiary jazz piano students while focusing on self-reflection. Vygotsky’s (1978) zone of proximal development and Csikszentmihalyi’s (1990) flow theory were used as the theoretical background of the study. Based on the zone of proximal development, I aimed to enhance the students’ learning during weekly piano lessons. Furthermore, based on flow, I intended to reflect on my own experiences while teaching. For the duration of the study, data collection took place at a South African university with four first-year undergraduate jazz piano students. During weekly lessons, a reflective journal was kept, recording personal flow experiences including an assessment rubric where students’ progress could be measured. Results were analysed and sorted under four elements of flow applicable to practical teaching – challenge/skill, clear goals, concentration on the task at hand and unambiguous feedback – including personal flow experiences. These flow dimensions served as a valuable guideline in adjusting teaching methods while teaching jazz. The personal flow experiences relates to Bakker’s (2005) emotional contagion theory where a teachers flow experience can cross over to a student, or a teachers mood can influence the students’ learning experiences. I found that reflecting on my own flow experiences enhances my confidence, motivation and concentration as a lecturer. Additionally, based on the zone of proximal development, aural/video imitation and scaffolding proved to be important concepts while teaching jazz piano. / Mini Dissertation (MMus)--University of Pretoria, 2019. / Music / MMus / Unrestricted

Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.

In this project, the purpose has been to research new ways of improving my bebop phrasing on the drums by transcribing one of the great saxophonists in jazz history – Charlie Parker. As a drummer, my main outlet for learning the language of bebop has been by transcribing other drummers. My theory is that I might find new ways of approaching my own instrument by transcribing someone who plays a different instrument than I do.  This work is based around my personal goal of learning the phrasing and the language of bebop. To fully grasp the rich history of the music I´ve examined the rhythmic principles of one of the inventors – Charlie Parker. I write about my findings and my process of incorporating methods of phrasing into my own musical vocabulary.  This project could be interesting for all kinds of practicing musicians but foremost for drummers. / <p>Repertoar:</p><p>Dewey Square (Parker)</p><p>A Night in Tunisia (Gillespie/Paparelli)</p><p>Lover Man (Davis/Ramirez/Sherman)</p><p>Koko (Parker)</p><p>My Little Suede Shoes (Parker)</p><p>Rocker (Mulligan)</p><p>Medverkande musiker:</p><p>Axel Mårdsjö - altsaxofon</p><p>Hampus Adami - trombon</p><p>Kalle Johansson - piano</p><p>Johan Tengholm - kontrabas</p><p>Johan Förnell - trummor</p>