Titre de l'écran-titre (visionné le 31 juillet 2023) / L'objectif principal de cette recherche est de résoudre les problèmes liés à l'intégration des cycles rythmiques irréguliers faisant partie du vocabulaire des compositeurs de jazz moderne du 20ᵉ et 21ᵉ siècle. Leurs ouvrages mettent en valeur des concepts novateurs qui sont de plus en plus répandus dans le répertoire moderne. Cinq concepts différents, provenant de cinq pièces modèles, sont traités dans cette recherche pour approfondir la compréhension du processus d'intégration des cycles rythmiques irréguliers. Les pièces ainsi que les compositeurs en question sont les suivants : (1) Vardavar par Tigran Hamasyan provenant de son disque EP No 1 en 2011. (2) Close to You composée par The Carpenters en 1970 et arrangée par Jacob Collier en 2014. (3) 427 Mass Ave par Warren Wolf provenant de son disque du même nom en 2011. (4) The Poet par Tigran Hamasyan tirée du disque Shadow Theater en 2013 et, finalement, (5) Green Spleen par Ari Hoenig parue en 2018 sur le disque Bert's Playground. Les concepts examinés dans chaque pièce sont : (a) la subdivision irrégulière, (b) le swing irrégulier, (c) la syncope, (d) la superposition et, finalement, (e) les déplacements rythmiques. Chacun de ces concepts implique des défis liés à l'irrégularité cyclique ainsi qu'une multitude d'effets musicaux à explorer. Ces défis sont particulièrement intéressants, car ils servent à réévaluer la notion d'irrégularité ainsi que les possibilités de mutations cycliques au sein d'une perspective de circularité polymétrique. Pour intégrer ces concepts et offrir mes propres solutions face à ces défis, j'analyse les concepts présentés par chaque pièce modèle ainsi que mon propre processus d'intégration. Je compose cinq pièces, inspirées des compositeurs modèles, et je note aussi mon processus créatif dans le Journal de Compositions (Chapitre 2). Celui-ci sert à examiner comment ce nouveau vocabulaire affecte le développement de mes compositions ainsi qu'à noter les épreuves que je surmonte pour en ressortir avec une œuvre personnalisée. Par la suite, je compose cinq nouvelles pièces qui me permettent d'explorer les cycles rythmiques irréguliers d'une manière plus libre et créative. Le but ultime est d'approfondir mes connaissances de ces concepts qui prennent de plus en plus de place dans la palette sonore d'aujourd'hui.

This written thesis accompanies a 32-minute documentary video, Journey for Jazz, which explores four Korean students who major in jazz at the University of North Texas in Denton. Detailed accounts of the pre-production, production, and post-production of the video guide the reader to understand the challenging and rewarding process of making this documentary. Theoretical issues are also discussed, including Bill Nichols's typology of documentary modes as a useful tool for analysis of hybrid documentaries and conventions of the observational and interactive mode in Journey for Jazz, which is considered a hybrid of both modes. The film focuses mainly on the scholarly and artistic experiences that the four students undergo while studying jazz in the United States.

The goal of this essay is to look at the poems “The Weary Blues” and “JAZZTETMUTED” (hereafter to be referred to as “JAZZTET”) by Langston Hughes andexamine their relationships to both the blues and jazz structurally, lyrically, andthematically. I examine the relationship of blues and jazz to the African-Americancommunity of Harlem, New York in the 1920’s and the 1950’s when the poems wererespectively published. Integral to any understanding of what Hughes sought toaccomplish by associating his poetry so closely with these music styles are the contexts,socially and politically, in which they are produced, particularly with respect to theAfrican-American experience.I will examine Hughes’ understanding of not only the sound of the two stylesof music but of what the music represents in the context of African-American historyand how he combines these to effectively communicate blues and jazz to the page. / <p>A</p>

Thesis (Ph. D.)--Harvard University, 1983. / Includes bibliographical references (leaves [351]-360). Discography: leaves 360-361.

Examination of the relationship of musicianship and educatorship of teacher and students as interacting partners in a specific musical context proceeded with investigation of how formal, informal, impressionistic, and supervisory musical and educational knowledge were evidenced in rehearsal. Attention was also given to how the teaching strategies of modeling, coaching, scaffolding, fading, articulating, reflecting comparatively, and exploring were used to develop student musicianship. The research methodology may best be described as an inductive analytical case study approach. Multiple data sources included: videotaped observations of 19 bi-weekly rehearsals, audio taped interviews of the 12 participants, supplemental materials, (a published interview, journal articles, rehearsal schedules), and member checking with the teacher and David Elliott. Rehearsal data were initially organized into categories identified in David J. Elliott's (1995) model. The relationship of teacher and student musicianship, and teacher educatorship emerged during analysis. Musical details of problem finding, reducing and solving were also identified. Three themes emerged from the student interviews: their perceptions of the teacher's musicianship, general rehearsal strategies, and the teacher's use of specific teaching strategies. Interviews with the teacher illuminated his perception of musicianship and teaching strategies employed in the context. The findings confirmed that as music making transpired in the rehearsals, the kinds of knowing present in the musicianship of teacher and students and the teacher's educatorship were not only intertwined but were utilized at the same time. The level of student musicianship was allied to the relationship of the teacher's musicianship and educatorship. The intricate relationship between the kinds of procedural knowledge that Elliott identifies as integral to music making and music teaching are illustrated in a set of diagrams. Additionally, they show the wide range of technical and musical problems the teacher and students solved together in order for the multifarious nature of the vocal jazz repertoire to be performed effectively in a series of concerts.

Jazz improvisation provides a case context for examining information in music; entropy provides a means for representing music for retrieval. Entropy measures are shown to distinguish between different improvisations on the same theme, thus demonstrating their potential for representing jazz information for analysis and retrieval. The calculated entropy measures are calibrated against human representation by means of a case study of an advanced jazz improvisation course, in which synonyms for "entropy" are frequently used by the instructor. The data sets are examined for insights in music information retrieval, music information behavior, and music representation.

The purpose of this study was to identify the occupational aspirations and expectations of students majoring in jazz studies, and to investigate relationships between students' aspirations, expectations and selected variables including significant others, choice of school, instrument type, academic achievement, academic level, socioeconomic status, age, gender, and early jazz experience. All jazz studies majors enrolled at the University of North Texas during the Spring 2001 academic semester responded to a pilot test questionnaire (return rate 85%, N = 211). Frequencies, percentages, means, and standard deviations described the students' occupational aspirations, occupational expectations, backgrounds and training in jazz prior to entering UNT, and determined the extent to which parents, relatives, teachers, friends, and role models helped steer them into jazz (Pearson r, Spearman Rho and Point Biserial correlation coefficients provided). The low to moderate positive correlation between aspirations and expectations (r = 0.43) indicated that the two variables were different and measured different types of occupations. Fifty percent of students aspired to be jazz performers whereas 29.7% expected to be jazz performers. While 42% aspired to be engaged in a combination of occupational activities, 48% expected a combination of occupational activities. Only 4.7% aspired to teach; however, almost 16% expected to be engaged in teaching. Low positive correlations were found between aspirations and significant others, expectations and significant others, expectations and gender, and expectations and role models. Respondents indicated that role models (jazz musicians, community musicians, and college instructors) had contributed the most to their decision to major in jazz. Recommendations for educators, researchers, and improvements to the questionnaire are provided.

No description available.

The purpose of this study is to provide a historiographical and musical analysis examining the jazz ride cymbal pattern, from its inception on woodblock, small accessory cymbals, hand cymbal mechanisms and brushes through what becomes known as the modern-day ride cymbal pattern. This research examines a wide array of drummers and bandleaders, with the objective of identifying the earliest recordings of this important addition to jazz drumming, and popular music history while analyzing the ride cymbal pattern's evolution through definitive recordings. The study begins with the earliest known recordings that clearly display the pattern as it is played on any of the instruments mentioned above. The research concludes with the jam sessions of the early 1940s at Minton's Playhouse, where the pioneer of bebop drumming, Kenny Clarke, experimented with altering the pattern. At this point, the pattern reach its final level of maturity and has since experienced no subsequent major modification. The historical and geographical analysis uses relevant literature from the field of jazz history in order to interpret and evaluate the impact of the the overall trajectory of the music and players. By surveying newspaper and magazine articles, archival interviews, and photographic sources, combined with audio and film analysis, it is clear that drummers navigated a path to the maturation of the pattern.

This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melody, rhythm, form, and energy through systems of musical contour, musical forces, and form analysis reveal constituent patterns that can be isolated. These patterns are codified and presented as pedagogical suggestions to assist in the practice of free improvisation.