archives@tulane.edu / This dissertation examines jazz in the life of the German Democratic Republic (GDR), from its founding after the end of World War II to its dissolution with the collapse of the Soviet Union in 1989. Challenging the established scholarly view that jazz was an art form whose primary dynamic consisted of opposition to the state, this dissertation argues that jazz was in fact a musical genre that enjoyed considerable state attention and in some cases support. Over the 40 years of the GDR’s history, party leaders variously legislated, controlled, repressed, encouraged, and ultimately sponsored jazz activities, recognizing throughout these years that jazz bore a critical relation to Marxist ideology with respect to its origins in racial identity and class-based oppression: this history, then, reflects the evolving struggle by socialist authorities to define this relationship and manage it accordingly. In order to make this argument, this dissertation examines previously unexamined material from a variety of sources in the GDR, including interviews from former residents and jazz actors, private documents such as diaries and letters, official government policies, and records of state surveillance. It provides the first full-length assessment of jazz over the entire lifespan of the GDR, dividing this history into four key phases and documenting the evolution of jazz from its initial use as a tool of re-education immediately following World War II to its emergence as a state-sanctioned art form in the 1980s. In sum, this dissertation argues that jazz can no longer be seen in such a simplistic way as scholars generally contend: rather, this research concludes that jazz must be understood as an art form in continuous and evolving dialogue with, not pure opposition to, the state. / 1 / admin

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While Jane Jacobs' frontal assault on "modern planning" is now over forty years old, communities around the United States are still struggling to deal with the legacy of modernist interventions that dramatically altered the historic urban form and culture of their downtowns. In the worst cases, whole zones were transformed into nearly unusable space. Reintegrating these lost spaces into the urban fabric is one of the most significant challenges of urban planners and designers today. Despite the ubiquity of lost spaces in American cities, comparatively little research has been done on the specific historic urban forms that were altered. This dissertation seeks to explore the processes of landscape change through a case study of Louis Armstrong's downtown neighborhood in New Orleans. It employs an urban morphological framework to uncover the specific landscape changes that occurred in the neighborhood over time. This micro-level view is broadened through an examination of the political economic forces that helped to transform the once vibrant neighborhood into the lost space of today. This study concludes that while it is tempting to identify the twentieth century modern interventions as the cause of lost space in New Orleans, such a reading unnecessarily isolates the modern development era from the historical continuum of land use that helped define the city. When the scope of inquiry into the causes of lost space is widened to include the historic formation of landscape remnants, long-standing patterns of lost space development begin to appear that stretch back to the founding of the city. Modern development, seen in this light, exacerbated existing negative landscape features more than created them.

ABSTRACT This dissertation examines jazz in the life of the German Democratic Republic (GDR), from its founding after the end of World War II to its dissolution with the collapse of the Soviet Union in 1989. Challenging the established scholarly view that jazz was an art form whose primary dynamic consisted of opposition to the state, this dissertation argues that jazz was in fact a musical genre that enjoyed considerable state attention and in some cases support. Over the 40 years of the GDR’s history, party leaders variously legislated, controlled, repressed, encouraged, and ultimately sponsored jazz activities, recognizing throughout these years that jazz bore a critical relation to Marxist ideology with respect to its origins in racial identity and class-based oppression: this history, then, reflects the evolving struggle by socialist authorities to define this relationship and manage it accordingly. In order to make this argument, this dissertation examines previously unexamined material from a variety of sources in the GDR, including interviews from former residents and jazz actors, private documents such as diaries and letters, official government policies, and records of state surveillance. It provides the first full-length assessment of jazz over the entire lifespan of the GDR, dividing this history into four key phases and documenting the evolution of jazz from its initial use as a tool of re-education immediately following World War II to its emergence as a state-sanctioned art form in the 1980s. In sum, this dissertation argues that jazz can no longer be seen in such a simplistic way as scholars generally contend: rather, this research concludes that jazz must be understood as an art form in continuous and evolving dialogue with, not pure opposition to, the state. / acase@tulane.edu

French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

Call number: LD2668 .T4 1954 W58 / Master of Science

Much of guitarist Wes Montgomery’s study of jazz improvisation came from imitating Charlie Christian’s guitar solos. The purpose of this study is to identify and examine significant improvisational traits that Wes Montgomery developed as a direct result of his imitation and assimilation of Charlie Christian. The dissertation investigates the musical traditions in Christian’s playing that were absorbed into Montgomery’s playing and how Montgomery was able to use these traits to foster new musical traditions. The solo transcriptions are limited to Montgomery’s early recordings between 1957 and ending with his 1960 album The Incredible Jazz Guitar of Wes Montgomery. The study also examines the relationship imitation has with creativity in jazz and how originality is influenced by the past. The dissertation examines the two guitarists’ use of five harmonic and melodic devices over dominant harmonies: scales, arpeggios, use of chromatic pitches, formulas and enclosures, and harmonic substitutions. The study focuses on how Montgomery’s melodic and harmonic treatment of dominant harmonies has been influenced by his imitation and assimilation of Christian’s improvisations. The study examines how Montgomery differentiated himself in his improvisations from Christian’s. A strong emphasis is given to the significance of these differences and how these differences are connected to Montgomery’s originality and innovation. This dissertation confirms that Montgomery’s innovation was strongly linked to his imitation of Charlie Christian. It also suggests that devotion to the imitation of past artists is needed in developing an original voice in jazz. / Biographical history and musical development of Charlie Christian -- Biographical history and musical development of Wes Montgomery -- Stylistic traits of Charlie Christian over dominant-seventh harmonies -- Stylistic traits of Wes Montgomery influenced by Charlie Christian -- Conclusion. / School of Music

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1987.

For over one hundred years the drum kit has been a driving force in shaping popular music, yet in popular culture the kit is not taken as seriously as other instruments, with drummer jokes abound. This hierarchy is reflected across academia and music literature, where the drum kit is least discussed amongst other instruments commonly found in popular music. Looking within the context of early jazz—one of the first styles of music the drum kit helped shape—historians and publishers were keen to ensure leading horn players told their story, while the drummers, who rarely secured similar levels of fame or recognition, had comparatively little chance to record their story. Detailed histories of the instrument are therefore scarce, incomplete, or riddled with inaccuracies and misunderstandings. This thesis presents a clear and detailed history of the instrument, from its beginnings to its early form in the mid 1930s. I then examine how the early drum kit was represented at the time through recordings, one of the most important methods of documenting how this instrument was used. Finally, I investigate how drummers performing on early drum kits today approach their playing, and how they deal with the problems identified in this thesis. In doing so I used optical character recognition (OCR) on digital archives, newspapers, interviews, magazines, catalogues and photographs from the early twentieth century, much of which has only become available in the past few years. Using these primary sources, I have constructed a reliable history and have unearthed new sources that shed light on the history and development of the instrument. Furthermore, through my own experiences and interviews of current early drum kit players, I have shown how this instrument in its early form is played, and how it differs from the instrument we know today.