Thesis (D.M.E.)--Indiana University, 2008. / Source: Dissertation Abstracts International, Volume: 69-03, Section: A, page: 0919. Adviser: Charles P. Schmidt. Includes bibliographical references (leaves 160-171) and abstract.

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "February 2008" Includes bibliography (leaves 245-248) and discography (242-244) Also available in print form.

Thesis--Case Western Reserve University. / Complete solo discography: leaves 461-482, v. 1. "Cat. no.: 78-16468." Includes bibliographical references (leaves 409-416, v. 1). Art Tatum discography: leaves 1-110, v. 2.

Thesis (Ph. D.)--Tulane University, 1977. / Vita: leaf 263. Includes bibliographical references (leaves 251-262). Includes discography (leaves 247-250).

This thesis describes an exploratory application of a statistical analysis and modeling technique (Markov chains) for the modeling of jazz improvisation with the intended subobjective of providing increased insight into an improviser's style and creativity through the postulation of quantitative measures of style and creativity based on the constructed Markovian analysis techniques. Using Visual Basic programming language, Markov chains of orders one to three are created using transcriptions of improvised solos by John Coltrane in his song Giant Steps. Still considered as statistical data, the Markov chains are examined and information is extracted from them through the development of several statistical tools for musical analysis. Two general categories of tools for analysis are developed: Subtraction matrices and graphical comparisons of distributions. Using these tools and the raw Markov chain data for musical analysis, quantitative measures for creativity and style are postulated. These measures are based on previously developed models and definitions of creativity and style taken from the literature. The information acquired from the implementation of the analysis tools is applied to the models in order to provide a theoretical basis for the development of the quantitative measures and a framework for the interpretation of the information. Guilford's Structure of Intellect model is used for developing creativity measures and Heen's model of the constructs of style analysis is used for determining measures of style. Overall, this research found that Markov chains provide distinct and useful information for musical analysis in the domain of jazz improvisation. Many examples of Markov chains are enumerated and tools for analysis are developed that implement the Markov chains. It is then explained how Markov chains and the tools for their analysis can be interpreted to determine quantitative measures of creativity and style. Finally, this thesis presents conclusions on Markov chain portrayals, new analysis tools and procedures, quantitative measures of creativity and style, and, in sum, that Markovian modeling is in fact a reasonable and useful modeling approach for this application. / Master of Science

For a practice that has influenced the development of most of the musical techniques and compositional forms of Western music (Ferand, 1965, p.5), 'improvisation' is challenging to define. Recently, the graded music examinations offered by the two largest UK-based music examination boards, the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL), have added options to assess improvisation within their instrumental curricula without clearly defining what they mean by 'improvisation' or how they assess it. This thesis argues that the lack of consistent definitions by the two leading examination boards results in a lack validity and meaning since it is unclear to examination stakeholders (music teachers, students, examiners and syllabus authors) exactly what is being assessed and how. This thesis investigates how 'improvisation' is defined, practiced, assessed and perceived within instrumental graded musical examinations. Evidence addressing the perspectives of the teaching-and-learning stakeholders is drawn from case-study observations and interviews of instrumental music lessons while candidates prepared for and completed an examination requiring improvisation. The perspectives of the examination board stakeholders are investigated through document analysis of the syllabuses, curricula and institutional websites of the examination boards in addition to interviews with examination board executives. The findings provide an initial investigation into an unexplored intersection of music education, improvisation and the business of graded examination boards. A clearer understanding emerges of the cultural and social practices of improvisation both inside and outside of the hegemony of graded examinations and the teaching-and- learning communities that support them. The findings of this thesis challenge the examination boards and bring more clarity to their assessment practices. and can help guide music teachers and students through the currently unclear landscape of improvisation in the ABRSM and TCL examinations.

[No Abstract]

Hochschule für Musik, Diss.--Würzburg, 2007.

Thesis--Universität Hamburg. / Includes bibliographical references.

This study compared the effects from the use of aural and notated exercises as pedagogical procedures for teaching harmonic accuracy to beginning jazz improvisation students. The methods of pedagogy were identified from published pedagogic and historical sources, the results of oral and written traditions of jazz pedagogy. The performance objective was produced from a review of the related literature as a recognized and measurable characteristic of jazz improvisation. The purpose of this study was to compare measurements of harmonic accuracy, following the use of notated and aural exercises as experimental procedures of jazz improvisation pedagogy. A lesson plan, materials, curriculum and outline were developed followed by student recruitment and participation. A total of 20 student volunteers participated in the methods of pedagogy (aural or notation). Data collection consisted of a musical background questionnaire and pre and posttest performance recordings. Student recordings were evaluated by six judges using the “experimental performance evaluation measure.” Statistical analyses were conducted, including comparisons of pre to posttest effects between, and among the methods of pedagogy. Although all student participants performed mostly from notated music prior to this study, students who received the aural method of pedagogy produced greater improvement for all measurement items. While the aural method produced no differences between grade level, the notation method produced significantly lower scores for 9th graders compared to 12th graders; no other significant grade level differences were noted. Conclusions were that although many sources of pedagogy do not include aural exercises as the predominate activity, beginning improvisers who have more experience reading music than playing by ear, learn better from aural, than notated exercises.