Analyzing Jazz
A Schenkerian Approach
Seiten
2009
Pendragon Press (Verlag)
978-1-57647-186-9 (ISBN)
Pendragon Press (Verlag)
978-1-57647-186-9 (ISBN)
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Demonstrates that the theories of Heinrich Schenker can illuminate not only the technical aspects of jazz (such as melody, rhythm, and harmony), but also its artistic content. This book offers an analyses of Larson's transcriptions into musical notation of five recorded performances of Thelonious Monk's classic jazz composition ""Round Midnight"".
Analyzing Jazz: A Schenkerian Approach demonstrates that the theories of Heinrich Schenker can illuminate not only the technical aspects of jazz (such as melody, rhythm, and harmony), but also its artistic content. In considering objections that have been raised to the application of Schenker's approach to improvised jazz, the book touches upon the content and origin of Schenker's theories, the role of analysis and the intentional fallacy, the origin and function of dissonance in common-practice harmony and in jazz, the nature of improvisation vs. composition, and the role of simplicity and complexity in popular and art music. And, although it qualifies the applicability ofSchenker's theories to jazz, it also shows that Schenker's theories offer basic theoretical principles and practical examples for explaining dissonance treatment in jazz and models useful in creating, explaining, and experiencingjazz. The book offers detailed analyses of Larson's transcriptions into musical notation of five complete recorded performances of Thelonious Monk's classic jazz composition Round Midnight: two recorded by the composer, one by Oscar Peterson, and two by Bill Evans and is thus the first work to publish complete transcriptions of the same piece as played by different jazz performers.
This item comprises the previously-announced two-volume set composed ofVol. I The Text (PP 606) and II The Music (PP607).
Analyzing Jazz: A Schenkerian Approach demonstrates that the theories of Heinrich Schenker can illuminate not only the technical aspects of jazz (such as melody, rhythm, and harmony), but also its artistic content. In considering objections that have been raised to the application of Schenker's approach to improvised jazz, the book touches upon the content and origin of Schenker's theories, the role of analysis and the intentional fallacy, the origin and function of dissonance in common-practice harmony and in jazz, the nature of improvisation vs. composition, and the role of simplicity and complexity in popular and art music. And, although it qualifies the applicability ofSchenker's theories to jazz, it also shows that Schenker's theories offer basic theoretical principles and practical examples for explaining dissonance treatment in jazz and models useful in creating, explaining, and experiencingjazz. The book offers detailed analyses of Larson's transcriptions into musical notation of five complete recorded performances of Thelonious Monk's classic jazz composition Round Midnight: two recorded by the composer, one by Oscar Peterson, and two by Bill Evans and is thus the first work to publish complete transcriptions of the same piece as played by different jazz performers.
This item comprises the previously-announced two-volume set composed ofVol. I The Text (PP 606) and II The Music (PP607).
| Reihe/Serie | Harmonologia |
|---|---|
| Verlagsort | Hillsdale |
| Sprache | englisch |
| Maße | 120 x 90 mm |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Jazz / Blues |
| Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre | |
| ISBN-10 | 1-57647-186-1 / 1576471861 |
| ISBN-13 | 978-1-57647-186-9 / 9781576471869 |
| Zustand | Neuware |
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