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Bringing a Jazz Drumming Aesthetic to the Music of Diverse Cultures

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Bringing a Jazz Drumming Aesthetic to the Music of Diverse Cultures Linking Improvisation to Cultural Context: Bringing a Jazz Drumming Aesthetic to the Music of Diverse Cultures Frank Gibson University of Otago An exegesis, submitted in partial fulfilment of the requirements of the degree of Doctor of Musical Arts. This submission comprises a folio of creative work including three compact discs. 1 I hereby declare that this submission is my own work and has not been submitted for a degree or diploma in any university. To the best of my knowledge and belief, it contains no material previously published or written by another person except where due reference has been made in the exegesis itself. Frank Gibson June 2019 2 Table of Contents Acknowledgments ........................................................................................................... 5 Abstract ........................................................................................................................... 6 Prelude ............................................................................................................................ 7 Chapter 1: Introduction ................................................................................................. 11 1.1 Introduction ..................................................................................................................... 11 1.2 Research Design and Scope .............................................................................................. 12 1. 2.1 Conceptual Framework ................................................................................................... 14 1.3 Methodology .................................................................................................................... 16 1.3.1 Performance Led Research .............................................................................................. 17 1.3.2 Discourse in Music ........................................................................................................... 17 1.3.3 Scope and Limitations ...................................................................................................... 19 1.3.4 Elements of Praxis ............................................................................................................ 20 1.4 Structure of the Exegesis .................................................................................................. 23 Chapter 2: Foundations .................................................................................................. 25 2.1 Introduction: Why Jazz? ................................................................................................... 25 2.2 Jazz .................................................................................................................................. 26 2.3 Intercultural Collaboration in Jazz .................................................................................... 27 2.4 Jazz Drumming Aesthetics ................................................................................................ 28 2.5 Improvisation ................................................................................................................... 30 2.5.1 Jazz Improvisation ............................................................................................................ 31 2.6 Aesthetics and Improvisation in the Collaborative Musical Cultures ................................. 32 2.6.1 Indian Classical Music ....................................................................................................... 32 2.6.2 Chinese Classical Music .................................................................................................... 33 2.6.3 Western Classical Music ................................................................................................... 34 2.7 Conclusion ........................................................................................................................ 35 Chapter 3: Four in One ................................................................................................... 36 3.1 Introduction ..................................................................................................................... 36 3.2 Exploration of the Creative Process .................................................................................. 38 3.3 Conclusion ........................................................................................................................ 41 Chapter 4: Freedom Through Discipline ......................................................................... 43 4.1 Introduction ..................................................................................................................... 43 4.2 Exploration of the Creative Process .................................................................................. 45 4.2.1 ‘Four Part Suite for Tabla and Drumset’ ........................................................................... 46 4.2.2 ‘Freedom through Discipline’ and ‘Conversations with Chinmaya’ ................................. 47 4.2.3 ‘First Meeting, First Take’ ................................................................................................. 48 4.3 Conclusion ........................................................................................................................ 48 Chapter 5: The Five Elements ......................................................................................... 50 5.1 Introduction ..................................................................................................................... 50 5.2 Exploration of the Creative Process .................................................................................. 52 5.2.1 ‘Springtime on Tian Mountain’ ........................................................................................ 54 5.2.2 ‘Exit Thru the Entrance’ .................................................................................................... 54 5.2.3 ‘Intensity/Fire’ .................................................................................................................. 55 5.2.4 ‘Marco Polo’s Return’ ....................................................................................................... 55 5.2.5 ‘Empathy/Compassion’ .................................................................................................... 56 3 5.2.6 ‘Happy House’ .................................................................................................................. 56 5.3 Conclusion ........................................................................................................................ 57 Chapter 6: Open-Ended .................................................................................................. 59 6.1 Introduction ..................................................................................................................... 59 6.2 Exploration of the Creative Process .................................................................................. 60 6.2.1 ‘Stolen Moments’ ............................................................................................................. 61 6.2.2 ‘So What’ .......................................................................................................................... 62 6.2.3 ‘In Walked Bud’ ................................................................................................................ 62 6.2.4 ‘Naima’ ............................................................................................................................. 63 6.2.5 ‘A Night in Tunisia’ ........................................................................................................... 63 6.2.6 ‘Skylife’ ............................................................................................................................. 64 6.2.7 ‘A Tribute to Max Roach’: Marama Hall Improvisation (Frank Gibson) ........................... 64 6.2.8 ‘Straight No Chaser’ ......................................................................................................... 65 6.3 Conclusion ........................................................................................................................ 66 Chapter 7: Conclusion .................................................................................................... 67 Bibliography .................................................................................................................. 72 Discography ................................................................................................................... 78 APPENDIX 1: Musician Biographies ................................................................................ 81 Four In One Musicians’ Biographies .......................................................................................... 81 The Five Elements Musicians’ Biographies ................................................................................ 83 Open-Ended Musicians’ Biographies ......................................................................................... 84 APPENDIX 2: Discography of Albums Consulted as Background Research ....................... 86 APPENDIX 3: Accompanying Material to Chapter 3 ........................................................ 93 Selected stills from the video accompanying the Four In One Recording Sessions ................... 93 Selected lead sheets and notes from Four In One ....................................................................
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