Global ETD Search

1	Melodiskt spel på kontrabas : Utvidgade möjligheter inom improvisation och ensemblespel med hjälp av stråke och sång. Söderqvist, Svante January 2020 (has links) During my studies at the Royal College of Music in Stockholm I have been exploring how I can develop as an improviser and as an ensemble musician. The main focus has been to use more arco playing, but also to sing unison and in harmony with the bass in order to broaden my expression. Another aim has been to compose music for my trio to implement my expanded way of performing. When I began the master’s program, I wanted to return to my roots as a classical cellist. With the help from classical teachers I was able to improve my bass technique, especially with the bow, and use that as a way to further widen my improvisation and accompany- ment skills. As a bonus, my cello playing got a boost from this work and it eventually became another important part of my artistic voice. The methods of my project have been to continuously test new ideas in my freelance work outside of KMH. I also interviewed fellow musicians to be able to reflect on whether my newly acquired knowledge and technique have had an effect on the way we make music together. In the thesis I also reflect on my inspiration from other musicians and artists and my personal philosophy not being bound to certain musical genres. Instead I want to take impressions from many different kinds of music and be open to all the different techniques in playing double bass that comes with a wide range of styles. An important result of this process is the making of the album “Arrival”, with Adam Forkelid on piano, Calle Rasmusson on drums and the Polish jazz violinist Adam Bałdych as a guest soloist. The record was released in March 2020 by the international jazz label Prophone/Naxos. double bass jazz bass jazz cello arco playing melodic improvisation arco and vocals arco jazz bass kontrabas jazzbas jazzcello stråkspel melodisk improvisation stråke och sång stråkspel jazz Music Musik
2	Connecting "Ray Brown's Bass Method" (1963) to "We Get Requests" (1964): A Comparative Analysis Hitt, Eric 07 1900 (has links) This research serves two main purposes: to create an analyzed edition of Ray Brown's bass lines from the Oscar Peterson Trio's 1964 recording We Get Requests, and to better understand Brown's lines through the lens of Ray Brown's Bass Method. This comparative analysis identifies significant events in the recorded music that closely relate to or resemble exercises from the book. By analyzing the music from the lens of Ray Brown's Bass Method, performers, students, and educators will gain a stronger understanding of the application of select technical devices provided by Brown in his book. The most prominent techniques discussed include scales and intervals, major triads, minor triads, and chords, exercises in tenths, rhythm patterns with drops, and diminished patterns. These evidence-based conclusions have significant applications in jazz bass pedagogy by revealing potential relationships between technical ideals and practical use. Although these conclusions may seem of concern only to jazz bassists, it should in fact concern anyone who cares about the connection between pedagogy and performance. jazz bass Ray Brown Oscar Peterson We Get Requests jazz analysis Ray Brown's Bass Method Music
3	"Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent Oyarzún Sepúlveda, Inti January 2015 (has links) Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value. / <p>Numera Inti Oyarzun-Jonsson.</p> flamenco electric bass bass guitar Nuevo Flamenco New Flamenco Carles Benavent Paco de Lucía jazz popular music ethnic music world music jazz bass. flamenco elbas elektrisk bas basgitarr nuevo flamenco new flamenco Carles Benavent Paco de Lucia jazz populärmusik etnisk musik world music jazzbas fusion Spanien jazzflamenco flamencorock Musicology Musikvetenskap

1

Page generated in 0.0432 seconds