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Analytic, Descriptive, and Prescriptive Components of Evolving Jazz: a New Model Based on the Works of Brad Mehldau
Analytic, Descriptive, and Prescriptive Components of Evolving Jazz: A New Model Based on the Works of Brad Mehldau Mark Edward Baynes An exegesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts The University of Auckland 2015 ii Abstract Jazz has steadily evolved from its inception in the late 19th century to the present. As is the case for other genres, musicological analytic research on jazz evolution has lagged behind its practice; consequently, there is a paucity of in-depth descriptive and analytic research on the music of recent innovators. Among the most recent examples of this evolution, the works of Brad Mehldau as a solo/ensemble pianist and as a composer arguably embody some of the most compelling innovations in the field. Non-academically oriented jazz writers and fans have consistently assigned these works vanguard status, but Mehldau’s output has not yet been sufficiently examined to prescribe performance methods. This exegesis contains (1) descriptive analysis of improvisation contained within a broad cross-section of Mehldau’s music; (2) definition of a new analytical lexicon derived from a holistic study of consonance, dissonance, and research into perceived motivation in music; and (3) prescriptive musical tools relating to consonance and dissonance that have informed the researcher’s performance. iii Acknowledgements I would like to express my special thanks to Dr David Lines, Associate Professor W. Dean Sutcliffe, Dr Davinia Caddy, Kevin Field, Dr Mark Kramer, Gary Burton, Jo Shum, Steve Harvie, Alex Freer, Tom Dennison, Dixon Nacey, Nick Marsh, Jason Orme, Chrissie Hart, Hadyn Godfrey, Chris Mason-Battley, Phil Broadhurst, Kim Paterson, Tom Rainey, Mike Booth and Stephen Morton-Jones. -
Brad Mehldau's Approach to Orchestration at the Piano in a Trio Setting As Demonstrated On
Edith Cowan University Research Online Theses : Honours Theses 2014 Brad Mehldau’s approach to orchestration at the piano in a trio setting as demonstrated on “August Ending” (2004) and “Secret Beach” (2006) Gabriel Fatin Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Commons Recommended Citation Fatin, G. (2014). Brad Mehldau’s approach to orchestration at the piano in a trio setting as demonstrated on “August Ending” (2004) and “Secret Beach” (2006). https://ro.ecu.edu.au/theses_hons/186 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/186 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. -
BRAD-MEHLDAU-TRIO-Dpeda.Pdf
ELEMENTS BIOGRAPHIQUES Brad Mehldau est né le 23 août 1970 à Jackson ville en Floride. Il étudie le piano classique dès l’âge de six ans s’intéressant par la suite à la musique rock et jazz. Il se fait vite remarqué en remportant un concours à la réputée « Berklee school of music ». Brad arrive à New York en 1988 où il commence à travailler avec de nombreux musiciens et enregistre quelques albums en tant que « sideman ». Sa première apparition se fera dans le quartet de Joshua Redman avec qui il enregistre Moodswing en 1994. Une tournée d’un an et demi suivra ce somptueux opus. En 1995, il forme avec le contrebassiste Larry Grenadier et le batteur Jorge Rossy son « Art of the trio » qui deviendra par la suite une référence dans le genre. Entre 1996 et 2001 sortiront sur le label Warner Bros. Cinq volumes du trio et en 2005 Anything Goes toujours avec la même formation. Parallèlement Brad commence à enregistrer ses premiers albums en tant que leader : Introducing Brad Mehldau en 1995 puis Elegiac Cycle – en solo- en 1999, Places en 2000 et enfin Largo en 2002 qui permettra à Brad Mehldau de se faire connaître auprès du grand public avec ses reprises pop (Beatles, Nick Drake, Radiohead…) car n'étant jamais là où on l'attend, Mehldau surprend son monde. Depuis, il sillonne le monde avec des artistes comme Mark Turner, Joshua Redman, John Scofield, Wayne Shorter, Joe Henry, Renée Fleming… Et plus récemment avec le guitariste Kurt Rosenwinkel. Ses compositions se retrouvent parfois dans des films : Eyes Wide Shut de Stanley Kubrick ou encore Million Dollar Hôtel de Wim Wenders. -
EUROPE), Y2,500 (JAPAN) Chart Ill 1111 Ill Changes #BXNCCVR 3 -DIGIT 908
$6.95 (U.S.), $8.95 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) Chart Ill 1111 Ill Changes #BXNCCVR 3 -DIGIT 908 II 1111[ III.IIIIIII111I111I11II11I11III I II...11 #90807GEE374EM002# BLBD 897 A06 B0098 001 MAR 04 2 MONTY GREENLY 3740 ELM AVE # A Overview LONG BEACH CA 90807 -3402 Page 10 New Features l3( AUGUST 2, 2003 Page 57 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT www.billboard.com HOT SPOTS New Player Eyes iTunes BuyMusic.com Rushes Dow nload Service to PC Market BY BRIAN GARRITY Audio -powered stores long offered by Best Buy, Tower Records and fye.com. NEW YORK -An unlikely player has hit the Web What's more, digital music executives say BuyMusic with the first attempt at a Windows -friendly answer highlights a lack of consistency on the part of the labels to Apple's iTunes Music Store: buy.com founder when it comes to wholesaling costs and, more importantly, Scott Blum. content urge rules. The entrepreneur's upstart pay -per-download venture,' In fact, this lack of consensus among labels is shap- buymusic.com, is positioning itself with the advertising ing up as a central challenge for all companies hoping slogan "Music downloads for the rest of us." to develop PC -based download stores. But beyond its iTunes- inspired, big -budget TV mar- "While buy.com's service is the least restrictive [down- the new service is less a Windows load store] that is currently available in the Windows keting campaign, SCOTT BLUI ART VENTURE 5 Trio For A Trio spin on Apple's offering and more like the Liquid (Continued on page 70) Multicultural trio Bacilos garners three nominations for fronts the Latin Grammy Awards. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE INCORPORATING MULTIPLE HISTORIES: THE POSSIBILITY OF NARRATIVE RUPTURE OF THE ARCHIVE IN V. AND BELOVED A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By LEANN MARIE STEVENS-LARRE Norman, Oklahoma 2010 INCORPORATING MULTIPLE HISTORIES: THE POSSIBILITY OF NARRATIVE RUPTURE OF THE ARCHIVE IN V. AND BELOVED A DISSERTATION APPROVED FOR THE DEPARTMENT OF ENGLISH BY _____________________________________________ Dr. Timothy S. Murphy, Chair _____________________________________________ Dr. W. Henry McDonald _____________________________________________ Dr. Francesca Sawaya _____________________________________________ Dr. Rita Keresztesi _____________________________________________ Dr. Julia Ehrhardt © Copyright by LEANN MARIE STEVENS-LARRE 2010 All Rights Reserved. This work is dedicated to the woman who taught me by her example that it was possible. Thank you, Dr. Stevens, aka, Mom. Acknowledgements I am and will always be genuinely grateful for the direction of my dissertation work by Tim Murphy. He was thorough, rigorous, forthright, always responding to my drafts and questions with lightening speed. Whatever is good here is based on his guidance, and whatever is not is mine alone. I know that I would not have been able to finish this work without him. I also appreciate the patience and assistance I received from my committee members, Henry McDonald, Francesca Sawaya, Rita Keresztesi, and Julia Ehrhardt. I have benefitted greatly from their experience, knowledge and encouragement. Henry deserves special recognition and heartfelt thanks for sticking with me through two degrees. I would also like to thank Dr. Yianna Liatsos for introducing me to ―the archive.‖ I most sincerely thank (and apologize to) Nancy Brooks for the tedious hours she spent copy-editing my draft. -
Highway Rider"
An Imaginary Musical Road Movie : Transmedial Semiotic Structures in Brad Mehldau's Concept Album "Highway Rider" Arvidson, Mats 2016 Link to publication Citation for published version (APA): Arvidson, M. (2016). An Imaginary Musical Road Movie : Transmedial Semiotic Structures in Brad Mehldau's Concept Album "Highway Rider". (Lund Studies in Arts and Cultural Sciences; Vol. 10). Lund Studies in Arts and Cultural Sciences. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 An Imaginary Musical Road Movie An Imaginary Musical Road Movie revolves around two integrated objects: on the one hand, the programmatic and cyclic concept album Highway Rider (2010), which is jazz pianist and composer Brad Mehldau’s most complex instrumental work, and on the other hand transmediality, both as a concept and phenomenon. -
Joshua Redman/Brad Mehldau
JOSHUA REDMAN/BRAD MEHLDAU DUO Friday, September 23, 2016, at 7:30pm Tryon Festival Theatre THE ACT OF GIVING OF ACT THE THANK YOU TO THE SPONSORS OF THIS PERFORMANCE PROGRAM Krannert Center honors the spirited generosity of these committed sponsors whose support JOSHUA REDMAN/BRAD MEHLDAU DUO of this performance continues to strengthen the impact of the arts in our community. Joshua Redman, saxophone Brad Mehldau, piano * * The program will be announced from the stage. This performance will last for approximately 90 minutes and will be presented with no intermission. Saxophonist Joshua Redman and pianist Brad Mehldau first performed together in Redman’s renowned quartet which gained prominence during the ‘90s “young jazz lion” period. Over the next two decades, both Grammy-nominated musicians grew as extraordinary leaders in their own ensembles, reaching international and critical acclaim while forging their own distinctive voices as modern-day icons in the ALICE & JAMES FARON JANICE BAHR & ERWIN HOFFMAN jazz/contemporary music vernacular. In 2011, the two finally converged their shared musical genius, First-Time Sponsors First-Time Sponsors skill, and simpatico to unequivocal critical acclaim. Two Current Sponsorships In 2016, by popular demand, Redman and Mehldau renew their longstanding musical relationship and join as an intimate duo creating music that swings and deeply connects to the spirit. A new live album from their recent European tour was released on Nonesuch Records in September 2016. LISA & MARK KLINGER ANONYMOUS Three Previous -
I I I ,C I I ·O ,C
-c I I I ,c I I ·o ,c This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. ARTS COUNCIL OF GREAT BRITAIN ARTS COUNCIL OF GREAT BRITAIN AND AND SHEFFIELD CITY POLYTECHNIC NORTH LONDON POLYTECHNIC VIDEO FELLOWSHIP 1983/4 VIDEO BURSARY 1983/4 The Arts Council of Great Britain in association with Sheffield City The Arts Council of Great Britain in association with North East· PolytechnicDepartment of Communication Arts is inviting London Polytechnic, Department of Fine Art, is inviting applications applications for a Video Fellowship . The Fellowship is worth £3,000 for a Video Bursary. The Bursary is worth £3,000 as a direct award as a direct award payable in three instalments . In addition, the payable by the Arts Council in three instalments. In addition NELP Department of Communication Arts will provide one days teaching will provide one days teaching per week over three terms totalling per week over three terms totalling thirty two weeks and paid at a thirty-two weeks and paid at the rate of approximately £75 per day. rate of approximately £70 per day. The recipient will work primarily The recipient will work primarily in video but with access to other in video but with access to other parts of the department-film , parts of the department-film, performance and photography. -
Michael Nyman
This pdf was last updated: Apr/23/2010. Michael Nyman Celebrated for his modular, repetitive style, minimalist composer Michael Nyman is among experimental music's most high-profile proponents, Line-up Michael Nyman - piano Gabrielle Lester - violin Anne Morfee - violin Catherine Musker - viola Anthony Hinnigan - cello David Roach - saxophones Simon Haram - saxophones Andrew Findon - saxophone, flute Steve Sidwell - trumpet David Lee - horn Nigel Barr - bass trombone, euphonium Martin Elliott - bass guitar On Stage: 12 Travel Party: 14 Website www.michaelnyman.com Biography When Michael Nyman published his study Experimental Music: John Cage and Beyond (1974), he could hardly have foreseen his own contribution to that "beyond". Rejecting the orthodoxies of British modernism, Nyman had abandoned composition in 1964, working instead as a musicologist, editing Purcell and Handel, and collecting folk music in Romania. Later he became a music critic, in which capacity he was the first to apply the word "minimalism" to music, in a 1968 review for the Spectator of Cornelius Cardew's The Great Digest. But soon a route back to composition was emerging. He wrote the libretto for Harrison Birtwistle's 1969 "dramatic pastoral" Down by the Greenwood Side. In 1977, Birtwistle commissioned him to provide arrangements of 18th-century Venetian songs for the production of Carlo Goldoni's play Il Campiello. Thrilled by the results, Nyman kept the Campiello Band together, now propelled by his own piano-playing. Soon the band's line-up mutated. The Campiello Band became the amplified Michael Nyman Band with a string quartet, three saxophones, bass trombone, bass guitar and piano. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Just the Job for That Lazy Sunday Afternoon’: British Readymades and Systems Music
‘Just the job for that lazy Sunday afternoon’: British Readymades and Systems Music An amplification of a paper given at the First International Conference on Minimalism, University of Wales, Bangor, 31 August–2 September 2007 Virginia Anderson, University of Nottingham THIS PAPER is concerned with definitions and their change and application over time and space. Take the term ‘systems music’, or its associated terms, ‘systems’ and ‘sys- temic music’, also ‘systematic’ music. Nobody seems to know exactly what these terms mean. In fact, the use of the term ‘systems’ became so vague that although it had appeared in the first New Grove of 1980, ‘systems’ disappeared as a definition in New Grove II in 2001. This would imply that ‘system’ is not only an old term, but a meaningless one. Is the term ‘system’ just another synonym for ‘process’, a way of structuring minimal music? Is the term ‘system’ is just outdated slang for repetitive minimalism? ‘System’ has been considered to be either a synonym or an archaism for repetitive music, sometimes both, at different times and to different scholars. However, there is a reason for bringing back the term ‘systems music’, with a clear definition. If we return ‘systems music’ to the group of British experimental com- posers who first used it, we find that it is also of use as applied to some music by this group today. Even so, we must clarify the use of the term ‘system’ within British experimental composition, because the way that each composer uses it depends on the time and situation in which it is used. -
Brad Mehldau French Biography / Program Notes
BRAD MEHLDAU FRENCH BIOGRAPHY / PROGRAM NOTES 1 set @ 90 minutes *all compositions will be announced from the stage Le pianiste de jazz Brad Mehldau se produit depuis le début des années 1990 avec son trio et en tant que récitaliste. Sa personnalité musicale forme une dichotomie, entre, d’un côté, l’improvisateur qui sait garantir l’effet de surprise et l’émerveillement, et de l’autre, un artiste fasciné par la construction formelle de lamusique. La structuration de sa pensée musicale est alors au service de l’expression. Ces deux aspects de la personnalité de Brad Mehldau se mêlent et s’opposent, provoquant un effet se rapprochant du chaos organisé. En parallèle de ses activités en trio et en solo, Brad Mehldau travaille avec de nombreux musiciens de jazz comme: Pat Metheny, Charlie Haden, Lee Konitz, Michael Brecker, Wayne Shorter, John Scofield et Charles Lloyd. Depuis plus de dix ans, il collabore avec des personnalités qu’il a toujours admirées: les guitaristes Peter Bernstein et Kurt Rosenwinkel, le saxophoniste Mark Turner... Hors de la sphère du jazz, Brad Mehldau a réalisé divers enregistrements (Teatro de Willie Nelson, Scar du chanteur et compositeur Joe Henry). On a pu entendre samusique au cinema (Eyes Wide Shut de Stanley Kubrick, The Million Dollar Hotel de Wim Wender). Il a également composé la bande originale du film franc ais Ma femme est une actrice (Yvan Attal, 2001). Le Carnegie Hall de New York lui a par ailleurs commandé plusieurs oeuvres pour piano et voix: The Blue Estuaries, The Book of Hours: Love Poems to God; enregistrées avec la soprano Renée Fleming, ces pièces forment l’album Love Sublime en 2006, tandis que paraît la même année chez Nonesuch House on Hill, disque comprenant ses compositions jazz pour trio.