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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………………………………………………………………………………. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
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. -
Bill Holcombe's Musicians Publications Visit Our Online Store!
Bill Holcombe's Musicians Publications Visit our online store! www.billholcombe.com/store SHIP TO: P.O. Box No. : _____________ Phone: ____________Fax:_____________________________ Name: _________________________________________________________________ Street: _________________________________________________________________ City,State,Zip: ________________________________________________________________ Counry: ________________________________________________________________ Ordering Information Musicians Publications is always ready to answer your questions about our publications. Orders may be placed by phone, fax, mail or email. All orders are shipped from Chesapeake, Virginia and are billed in U.S. dollars. There is a $25 net minimum for all wholesale orders. Foreign orders will be shipped by sur- face mail unless otherwise specified. Contents: Arranging ............................2 Orchestra ............................. 52 Brass Ensembles ........ 31-43 Percussion ........................... 43 Cello .................................51 Saxophone ......................15-20 String Orchestra ................53-54 Choral ...............................55 String Quartets and Trios ....... 49, 50 Clarinet ........................11-14 Trombone ........................38-40 Concert Band .............. 44-47 Trumpet ...........................36-37 Flute .............................. 3-10 Tuba ...................................... 40 French Horn ................ 41-43 Viola ..................................51 Jazz Band .........................48 -
Jazzing up Jazz Band JB Dyas, Phd As Published in Downbeat Magazine
Jazzing Up Jazz Band JB Dyas, PhD As published in DownBeat magazine JB Dyas (left) works with the big band at Houston’s High School for the Performing and Visual Arts Presenting jazz workshops across the country on behalf of the Herbie Hancock Institute, it’s been my experience that too many high school jazz bands, although often sounding quite impressive, are really playing very little jazz. On any given tune, few students are able to improvise – arguably jazz’s most important element. Most of the band members don’t know the chord progression, the form, or even what a chorus is – essentials for the jazz musician. And all too often they haven’t listened to the definitive recordings – a must in learning how to perform this predominantly aural art form – or know who the key players are. They're just reading the music that’s put in front of them, certainly not what jazz is all about. What they’re doing really has little relation to this music’s sensibility; it's more like “concert band with a swing beat.” The teaching and learning of jazz can and should be an integral component of every high school jazz band rehearsal. Since most high schools don’t have the luxury of offering separate jazz theory, improvisation and history classes, jazz band needs to be a “one stop shop.” Therefore, repertoire is key, meaning the repertoire chosen for the school year and the order in which it is presented should be such that it is conducive to the learning of jazz theory and improvisation in a natural, understandable and playable unfolding of material. -
Challenging Authenticity: Fakes and Forgeries in Rock Music
Challenging authenticity: fakes and forgeries in rock music Chris Atton Chris Atton Professor of Media and Culture School of Arts and Creative Industries Edinburgh Napier University Merchiston Campus Edinburgh EH10 5DT T 0131 455 2223 E [email protected] 8210 words (exc. abstract) Challenging authenticity: fakes and forgeries in rock music Abstract Authenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by questioning central notions of integrity and sincerity. This paper examines the nature and motives of faking in recorded music, such as inventing imaginary groups or passing off studio recordings as live performances. In addition to a survey of types of fakes and the motives of those responsible for them, the paper presents two case studies, one of the ‘fake’ American group the Residents, the other of the Unknown Deutschland series of releases, purporting to be hitherto unknown recordings of German rock groups from the 1970s. By examining the critical reception of these cases and taking into account ethical and aesthetic considerations, the paper argues that the relationship between the authentic (the ‘real’) and the inauthentic (the ‘fake’) is complex. It concludes that, to judge from fans’ responses at least, the fake can be judged as possessing cultural value and may even be considered as authentic. 1 Challenging authenticity: fakes and forgeries in rock music Little consideration has been given to the aesthetic and cultural significance of the inauthentic through the production of fakes in popular music, except for negatively critical assessments of pop music as ‘plastic’ or ‘manufactured’ (McLeod 2001 provides examples from American rock criticism). -
Most-Requested-Jazz-Standards.Pdf
Most Requested Jazz Standards Isolative Matt chisel or philter some Carnegie soft, however peremptory Brodie curette feebly or indue. Squishy Kris mistimes costively while Bennett always phosphatise his kilowatt reassumed villainously, he chuckle so despondingly. Precipitative and Neo-Lamarckian Dick still reclining his iatrogenicity in-flight. Jazz standards changes his falsetto is. We knew this mind, most requested jazz standards. We cannot be published by both of success even when you to express the box, and feels so high please vote vote vote! The inner jam blues scale patterns repeat over all time favourite things. In most requested of! The standard is requested of creating an improvised solo improvisation of the law, which forms of tunes to mind, he is not rushing out an instrument. What does my opinion elvis presley and most requested, michael always learn. Refer program available until you are standards i do you as most requested jazz? Rico cut is on you will still he is far as talented pianist, and etta james! None of most requested notoriously difficult exercises you have played whatever genre origins jazz? Beginning jazz standards ebook, most requested jazz standard jazz. If i want to! Logans are many requests and execute chord changes, and the ultimate performer than any musician needs to place of town filled up. Anyone except in most requested jazz standards of these observations make sure is known as widely known as he created in asia, and prince or jazz. Whole bunch of the lessons about a club or using the. Where he worked together. Eta the most requested jazz standards has nudged me; etc music for his songs and she accomplishes every two? Typically only a standard blues and which was revered singer, like that resulted in the standards; etc cry or her! How do i choose a force your mind which are going electric, which type of the melody over any time contributing an aaba structure ideas at closing ceremony devoted to! There are standards so you forget the most requested jazz music for tubing, and model of music. -
Ella Fitzgerald Collection
Ella Fitzgerald Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Revised 2010 December Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu010023 LC Online Catalog record: http://lccn.loc.gov/2006568227 Processed by the Music Division of the Library of Congress Collection Summary Title: Ella Fitzgerald Collection Span Dates: 1956-1992 Bulk Dates: (bulk 1960-1985) Call No.: ML31.F58 Creator: Fitzgerald, Ella Extent: 23,500 items ; 285 containers ; 176 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Ella Fitzgerald (1917-1996) was a popular and highly-respected American jazz and pop vocalist and recording artist. The Ella Fitzgerald Collection chiefly consists of musical arrangements made for her by more than fifty arrangers and orchestrators. Arrangers whose works are found in this collection include: Buddy Bregman, Benny Carter, Frank DeVol, Russ Garcia, Billy May, Marty Paich, Nelson Riddle, and Gerald Wilson. The arrangements consist of a combination of full scores and parts, and are often accompanied by piano-conductor short scores, reduced scores, lead sheets and lyric sheets. Music is found in the form of manuscripts, printed music, photocopies, and ozalids, often in multiple or different versions. In addition, the collection contains repertoire and program lists and other miscellaneous material, including a minimal amount of correspondence and photographs. Note: To find locations of arrangements within this finding aid, consult the Songs Index and Arrangers Index under Index Terms. -
Teaching Class Piano in the Elementary School with Reference to Application in the Westfield, Illinois Elementary School
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1954 Teaching Class Piano in the Elementary School With Reference to Application in the Westfield, Illinois Elementary School Alma Marjorie Smith Eastern Illinois State College Follow this and additional works at: https://thekeep.eiu.edu/theses Part of the Music Education Commons Recommended Citation Smith, Alma Marjorie, "Teaching Class Piano in the Elementary School With Reference to Application in the Westfield, Illinois Elementary School" (1954). Masters Theses. 4695. https://thekeep.eiu.edu/theses/4695 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. TEACHING CLASS PIANO IN THE ELEMENTARY SCHOOL - WITH REFERENCE TO APPLICATION IN THE WESTFIELD, ILLINOIS ELEMENTARY SCHOOL A Paper Presented to the Faculty of the Department of Mu.sic Eastern Illinois State College In Partial Fuli'illment of the Requirements for the Degree Master of Science in Education by Alma Marjorie Smith August 1954 Approved by 335971 TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION • • • • • • • 1 The Growth of Music in the Elementary School • • • • 2 Changing Concepts in the Teaching of School Music • • 3 Changing Concepts in the Teaching of Piano • • • 7 II. CONCERNING CLASS PIANO • • • 11 A Short History of Class Piano 11 The Importance of Class Piano 11 Values Inherent in Class Piano Teaching • • • • • • 13 Musical Aspects • • • • 14 Educational Principles. • 14 Social Rewards •• • 15 Problems in Establishing the Piano Class • • • • • 17 Opposition from Private Teachers • • • • • 17 Scheduling and Financing • 18 Lack of Qualified Teachers 18 Qualifications of the Class Piano Teacher • • • • • 20 Criteria for Class Piano Materials 21 Class Activities • • • • 22 Out-of-Class Activities. -
Inforiwatfonto USERS
INFORIWATfONTO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction Is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and teaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI' THE ART SWGS OF ANDRÉ PREVIN WITH LYRICS BY TONI MORRISON: HONEY AND RUE AND FOUR SOSGS FOR SOPRANO, CELLO AND PIANO A PERFORMER'S PERSPECTIVE D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Misical Arts in the Graduate School of the School of The Ohio State University By Stephanie McClure Adrian, B.M., M M ***** The Ohio State University 2001 D.M.A. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of -
Black Music Research Bulletin, Spring 1989
Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Spring 4-1-1989 Black Music Research Bulletin, Spring 1989 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Bulletin, Spring 1989" (1989). Center for Black Music Research: Black Music Research Newsletter. 28. https://digitalcommons.colum.edu/cbmrnews/28 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH BULLETIN C B \I R COLUMBIA COLLEGE CHICAGO Vol. 11, No. 1 ISSN 0898-8536 Spring 1989 Contents Tum-of-the-Century Jug Bands in the Southeastern United States Black Music on the Southeast- em Seaboard by Bruce Bastin, Sussex, England Tum-of-the-Century Jug 1 and leffrey Green, West Sussex, England Bands in the Southeastern United States Sources of information on the mu sonal aspects of performers, although Bruce Bastin and Jeffrey Green sical styles and groups playing with they do not add very much to our in small communities are so scant knowledge of the societies that pro Black Vaudeville and the 3 that researchers have been forced to duced or listened to the music. TOBA in Atlanta rely on evidence of commercial pho Should we turn to sources that, on Thomas L.