A Study of Free- Improvisation Pedagogues in University Settings
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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
1 SYLLABUS Music 298 Jazz Improvisation 2 Time
SYLLABUS Music 298 Jazz Improvisation 2 Time: TBA 135 McCain Auditorium Dr. Wayne E. Goins E-mail address: [email protected] Office telephone: 532-3822 Course Overview and Syllabus Prerequisite: instructor permission/audition/interview Required Text: The Wise Improviser. Goins, W. (2006 KS Publishers) Course Outline: The primary goal of this course is to review the advanced elements of jazz, and to prepare students to investigate the more complex material found in the areas of jazz improvisation. The objectives of this course are for each student to a) develop the ability to incorporate these advanced principles of jazz improvisation in their performance technique in order to raise their level of performance, and b) apply principles of jazz improvisation to standard jazz literature so that each participant is able to create a more sophisticated improvised solo (based on chord changes found in selected literature) that is logical and effectively incorporates the material covered in class; and c) demonstrate a thorough working knowledge of the principal players involved in the stylistic development of the various periods related to jazz improvisation. Grading: Attendance in all classes is mandatory. Any unexcused absence may result in a full grade cut (i.e., one excused absence=B, two unexcused absences=C, etc.) Being late twice will constitute an unexcused absence. Students are primarily graded on attendance and individual performance/ability to incorporate materials covered in class into their improvisational skills. Performance Dates: Students will be expected to demonstrate knowledge and ability for material for material covered in class on a weekly schedule. Grades will be determined on a satisfactory/unsatisfactory basis. -
Jazz in America • the National Jazz Curriculum Test Bank 7 - Avant Garde/Free Jazz and Fusion Select the BEST Answer
Jazz in America • The National Jazz Curriculum Test Bank 7 - Avant Garde/Free Jazz and Fusion Select the BEST answer 1. Free Jazz was a reaction to A. Dixieland B. the yuppies of the 1980s C. the women’s movement D. Rock 'n Roll E. Swing, Cool Jazz, and Hard Bop 2. Free Jazz improvisation was generally A. not predetermined B. easy to listen to C. based on predetermined chord progressions D. based on the Blues E. simple 3. Free Jazz musicians freed themselves by improvising A. for at least three standard choruses B. solely on the emotions of the moment C. ala Kenny G D. infrequently E. according to the composer’s intentions 4. In Free Jazz, traditional values of melody, harmony, and rhythm were A. referred to continually B. used to build the form of a tune C. discarded D. important E. always in the soloist's mind 5. Free Jazz is most closely related to A. the homeless B. improvised 20th century classical and world music C. Rock ‘n Roll D. Funk E. inexpensive jazz 6. Free Jazz allowed for the exploration of A. tonal colors and harmonies B. traditional ways to play Swing C. ideas on how to make jazz more traditional D. ideas on how to make jazz more audience accessible E. expensive jazz 7. Free Jazz A. was highly regarded by all B. pushed the limits of what musicians could play and what audiences could accept C. was popular among musicians D. became the most popular jazz style in the late 1950’s and ‘60s E. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Glenn Miller, Benny Goodman, and Count Basie Led Other Successful
JAZZ AGE Glenn Miller, Benny Goodman, and Count Basie led other modal jazz (based on musical modes), funk (which re- successful orchestras. While these big bands came to char- prised early jazz), and fusion, which blended jazz and rock acterize the New York jazz scene during the Great De- and included electronic instruments. Miles Davis in his pression, they were contrasted with the small, impover- later career and Chick Corea were two influential fusion ished jazz groups that played at rent parties and the like. artists. During this time the performer was thoroughly identified Hard bop was a continuation ofbebop but in a more by popular culture as an entertainer, the only regular accessible style played by artists such as John Coltrane. venue was the nightclub, and African American music be- Ornette Coleman (1960) developed avant-garde free jazz, came synonymous with American dance music. The big- a style based on the ideas ofThelonius Monk, in which band era was also allied with another popular genre, the free improvisation was central to the style. mainly female jazz vocalists who soloed with the orches- tras. Singers such as Billie Holiday modernized popular- Postmodern Jazz Since 1980 song lyrics, although some believe the idiom was more Hybridity, a greater degree offusion,and traditional jazz akin to white Tin Pan Alley than to jazz. revivals merely touch the surface of the variety of styles Some believe that the big band at its peak represented that make up contemporary jazz. Inclusive ofmany types the golden era ofjazz because it became part ofthe cul- ofworld music, it is accessible, socially conscious, and tural mainstream. -
MUT 2641 Jazz Improvisation (Offered Fall and Spring)
MUT 2641 Jazz Improvisation (offered Fall and Spring) Spring 2016 Syllabus Instructor: Scott Wilson Course Meeting Time and Location: TBA. Credit Hours: 2 credits Instructor: Jazz Adjunct Jazz Office Location: School of Music: Room 354 Office Hours: Jazz Teaching Assistant will post their office hours. You can always request a meeting with the Jazz Director Scott Wilson by contacting [email protected] Contact: [email protected] / Office phone: 352-273-3184 Course Description This course is designed to solidify jazz fundamentals in performance. Students will be required to perform 5 jazz standards from memory and arpeggiate the chords to the 9th. Students will have scale exams on major, dorian and dominant scales and their arpeggios (6 keys for Improvisation 1). Students will be tested on jazz improvisation and be graded on their ability to hit all chord changes, play accurate style and demonstrate jazz vocabulary. Students will also perform a jazz vocabulary lick in all 12 keys. Prerequisites: Jazz Fundamentals 1 online with a grade of B or better. Required Text: Students will purchase the following Play-A-Long albums. Jamey Aebersold Website (www.jazzbooks.com). Jamie Aebersold Play Along Albums: (the cost is roughly $15 to $20 per album) 1. Volume 44 - Autumn Leaves 2. Volume 38 – Blue Note 3. Volume 21 – Getting It Together Link to Play-A-Long Albums listed above. http://www.jazzbooks.com/mm5/merchant.mvc?Screen=CTGY&Store_Code=JAJAZZ&Category_Code=AEB PLA&offset=0 Note: These books are not available in the book store because the list of required Jamey Aebersold albums changes from time to time. -
A Little More Than a Year After Suffering a Stroke and Undergoing Physical Therapy at Kessler Institute Buddy Terry Blows His Sax Like He Never Missed a Beat
Volume 39 • Issue 10 November 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Saxman Buddy Terry made his first appearance with Swingadelic in more than a year at The Priory in Newark on September 30. Enjoying his return are Audrey Welber and Jeff Hackworth. Photo by Tony Mottola. Back in the Band A little more than a year after suffering a stroke and undergoing physical therapy at Kessler Institute Buddy Terry blows his sax like he never missed a beat. Story and photos on page 30. New JerseyJazzSociety in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Pee Wee Dance Lessons. 3 Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 Prez Sez September Jazz Social . 51 CD Winner . 52 By Laura Hull President, NJJS Crow’s Nest . 54 New/Renewed Members . 55 hanks to Ricky Riccardi for joining us at the ■ We invite you to mark your calendar for “The Change of Address/Support NJJS/Volunteer/JOIN NJJS . 55 TOctober Jazz Social. We enjoyed hearing Stomp” — the Pee Wee Russell Memorial Stomp about his work with the Louis Armstrong House that is — taking place Sunday, March 4, 2012 at STORIES Buddy Terry and Swingadelic . cover Museum and the effort put into his book — the Birchwood Manor in Whippany. Our Big Band in the Sky. 8 What a Wonderful World. These are the kinds of confirmed groups include The George Gee Swing Dan’s Den . 10 Orchestra, Emily Asher’s Garden Party, and Luna Stage Jazz. -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
The Jam Session Model for Group Creativity and Innovative Technology
THE JAM SESSION MODEL FOR GROUP CREATIVITY AND INNOVATIVE TECHNOLOGY Maksim Belitski Henley Business School, Whiteknights, University of Reading, Reading, RG6 6UD, United Kingdom [email protected] Monika Herzig Arts Administration, School of Public and Environmental Affairs, Indiana University, Bloomington, Indiana, 47405, United States [email protected] 1 ABSTRACT This paper builds on the analysis of factors observed at jazz jam sessions facilitating team creativity and improvisation as a model for managing organizational innovation. The model was established through detailed observations, surveys, historical research, and interviews. Even though the jazz metaphor has been used as a model for organizational improvisation the discussions rarely extend beyond the improvisational process of idea generation (Frishammar, Dahlskog, Krumlinde and Yazgan, 2016) towards a comprehensive model for team creativity and effective organizational management (Santos, Uitdewilligen and Passos, 2015). The seven factor Jam Session Model for Group Creativity and Innovative technology is built from a comprehensive analysis of the jam session process and exemplified with case studies of leading innovative companies such offering a theoretical and practical model for managing and facilitating group creativity and innovative technology. Keywords: Organizational Improvisation, Creativity, Jam session, Group Creativity, Innovative technology INTRODUCTION Although a team’s creativity and cognitive architecture are acknowledged as key components of organizational improvisation (Moorman and Miner, 1998) and performance (Hargadon and Bechky, 2006; Perry-Smith and Shalley, 2014; Frishammar, Dahlskog, Krumlinde and Yazgan, 2016), there has been a disparity in the conceptualization of creativity and the role that improvisation in a group setting can play for ideas and new knowledge creation (Zack, 2000). -
June-Oct 2021
JUNE-OCT FREE & BENEFIT 2021 PERFORMANCES SUMMERSTAGE.ORG SUMMERSTAGE NYCSUMMERSTAGE SUMMERSTAGENYC SUMMERSTAGE IS BACK More than a year after the first lockdown order, SummerStage is back, ready to once again use our city’s parks as gathering spaces to bring diverse and thriving communities together to find common ground through world-class arts and culture. We are committed to presenting a festival fully representing the city we serve - a roster of diverse artists, focused on gender equity and presenting distinct New York genres. This year, more than ever before, our festival will focus on renewal and resilience, reflective of our city and its continued evolution, featuring artists that are NYC-born, based, or inextricably linked to the city itself. Performers like SummerStage veteran Patti Smith, an icon of the city’s resilient rebelliousness, Brooklyn’s Antibalas, who have married afrobeat with New York City’s Latin soul, and hip hop duo Armand Hammer, two of today’s most important leaders of New York’s rap underground. And, as a perfect symbol of rebirth, Sun Ra’s Arkestra returns to our stage in this year of reopening, 35 years after they performed our very first concert, bringing their ethereal afro-futurist cosmic jazz vibes back to remind us of our ongoing mission and purpose. Our festival art this year also reflects our outlook -- bold, bright, powerful -- and was created by New Yorker Lyne Lucien, an award-winning Haitian artist based in Brooklyn. Lucien is an American Illustration Award Winner and a finalist for the Artbridge - Not a Monolith Residency. She has worked as a photo editor and art director at various publications including New York Magazine, The Daily Beast and Architectural Digest.