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Books > Music > Contemporary popular music > Jazz
Jazz on the Line: Improvisation in Practice presents an
ethnographic reflection on improvisation as performance, examining
how musicians think and act when negotiating improvisational
frameworks. This multidisciplinary discussion-guided by a focus on
recordings, composition, authenticity, and venues-explores the
musical choices made by performers, emphasizing how these choices
can be logically understood within the context of controlled,
musical outputs. Throughout the text, the author engages directly
with musicians and their varied practices-from canonized dogmas to
innovative experimentalism-offering interviews both planned and
spontaneous. Musical agency is posited as a tightrope balancing
act, signifying the skill and excitement of improvisational
performativity and exemplifying the life of a jazzaerialist. With a
travel journal approach as a backdrop, Jazz on the Line provides
concepts and theories that demystify the creative processes of
improvisation.
Jazz Sells: Music, Marketing, and Meaning examines the issues of
jazz, consumption, and capitalism through advertising. On
television, on the Internet, in radio, and in print, advertising is
a critically important medium for the mass dissemination of music
and musical meaning. This book is a study of the use of the jazz
genre as a musical signifier in promotional efforts, exploring how
the relationship between brand, jazz music, and jazz discourses
come together to create meaning for the product and the consumer.
At the same time, it examines how jazz offers an invaluable lens
through which to examine the complex and often contradictory
culture of consumption upon which capitalism is predicated.
Jazz Theory: From Basic to Advanced Study, Second Edition, is a
comprehensive textbook for those with no previous study in jazz, as
well as those in advanced theory courses. Written with the goal to
bridge theory and practice, it provides a strong theoretical
foundation from music fundamentals to post-tonal theory, while
integrating ear training, keyboard skills, and improvisation. It
hosts "play-along" audio tracks on a Companion Website, including a
workbook, ear-training exercises, and an audio compilation of the
musical examples featured in the book. Jazz Theory is organized
into three parts: Basics, Intermediate, and Advanced. This approach
allows for success in a one-semester curriculum or with subsequent
terms. If students sense that theory can facilitate their
improvisational skills or can help them develop their ears, they
become more engaged in the learning process. The overall
pedagogical structure accomplishes precisely that in an original,
creative-and above all, musical-manner. KEY FEATURES include 390
musical examples, ranging from original lead sheets of standard
tunes, jazz instrumentals, transcriptions, and original
compositions, to fully realized harmonic progressions, sample
solos, and re-harmonized tunes. The completely revamped Companion
Website hosts: 46 "Play Along Sessions" audio tracks, offering
experiences close to real-time performance scenarios. Over 1,000
(audio and written) exercises covering ear training, rhythm,
notation, analysis, improvisation, composition, functional
keyboard, and others. Recordings of all 390 musical examples from
the textbook. Links: Guide to Making Transcriptions, List of Solos
to Transcribe, Selected Discography, Classification of Standard
Tunes, and more. Lists of well-known standard tunes, including a
comprehensive list of 999 Standard Tunes - Composers and Lyricists.
NEW TO THE SECOND EDITION are instructors' tools with answer keys
to written and ear-training exercises, 380 rhythmic calisthenics
featuring exercises from the swing, bebop, and Latin rhythmic
traditions, a new improvisation section, a set of 140 Comprehensive
Keyboard exercises, plus an expanded ear-training section with 125
melodic, 50 rhythmic dictations, and 170 harmonic dictations, plus
240 written exercises, 25 composition assignments, and 110 singing
exercises. The paperback TEXTBOOK is also paired with the
corresponding paperback WORKBOOK in a discounted PACKAGE
(9780367321963).
This title examines in great detail the arrival of jazz in Britain,
the influence of American musicians, the big-band era and then the
advent of bop, the Musicians' Union ban, the development of jazz
journalism and specialist clubs and the fascinating cloak and
dagger plots culminating in the defiance of the Musicians' Union
ban on the appearance of American musicians in Britain. It features
conscientiously researched and related with trenchant and pithy
humour.
(Real Book Play-Along). This USB stick includes backing tracks to
240 songs from The Real Book Volume 1 so you can play along with a
real rhythm section professionally recorded for these products.
(Vocal Piano). Vocal/piano arrangements based on Esperanza's own
lead sheets of all 12 tracks from the 2008 release from this jazz
prodigy. Songs include: Cuerpo Y Alma (Body and Soul) * Espera *
Fall In * I Adore You * I Know You Know * If That's True * Love in
Time * Mela * Ponta De Areia * Precious * Samba Em Preludio * She
Got to You.
Over 480 chords illustrated in standard notation, plus keyboard
diagrams for instant note recognition. All the chords you need to
play today's jazz music. You don't need to read music to use this
chord finder!
Five superb albums of graded pieces provide a wealth of jazz
repertoire. Throughout, there is a huge range of styles, from bebop
blues to calypsos, boogie-woogie to ballads, jazz waltzes to free
jazz. There are classic tunes by the jazz greats, including Duke
Ellington, Miles Davis and Thelonious Monk. And there are brand-new
pieces specially commissioned from professional British jazz
musicians and educators. Each album presents 15 pieces in three
lists: blues, standards and contemporary jazz. The head of each
piece is set out with all the characteristic voicings, phrasing and
rhythmic patterns you need for a stylish performance. The
improvised section gives guideline pitches and left-hand voicings
as a practical starting-point. Accessible, student-centred and of
the highest musical standards, these pieces will get you playing
jazz confidently and creatively. Contains all the pieces for
ABRSM's new jazz piano exam.
The contributors to Negotiated Moments explore how subjectivity is
formed and expressed through musical improvisation, tracing the
ways the transmission and reception of sound occur within and
between bodies in real and virtual time and across memory, history,
and space. They place the gendered, sexed, raced, classed,
disabled, and technologized body at the center of critical
improvisation studies and move beyond the field's tendency toward
celebrating improvisation's utopian and democratic ideals by
highlighting the improvisation of marginalized subjects. Rejecting
a singular theory of improvisational agency, the contributors show
how improvisation helps people gain hard-won and highly contingent
agency. Essays include analyses of the role of the body and
technology in performance, improvisation's ability to disrupt power
relations, Pauline Oliveros's ideas about listening, flautist
Nicole Mitchell's compositions based on Octavia Butler's science
fiction, and an interview with Judith Butler about the relationship
between her work and improvisation. The contributors' close
attention to improvisation provides a touchstone for examining
subjectivities and offers ways to hear the full spectrum of ideas
that sound out from and resonate within and across bodies.
Contributors. George Blake, David Borgo, Judith Butler, Rebecca
Caines, Louise Campbell, Illa Carrillo Rodriguez, Berenice Corti,
Andrew Raffo Dewar, Nina Eidsheim, Tomie Hahn, Jaclyn Heyen,
Christine Sun Kim, Catherine Lee, Andra McCartney, Tracy McMullen,
Kevin McNeilly, Leaf Miller, Jovana Milovic, Francois Mouillot,
Pauline Oliveros, Jason Robinson, Neil Rolnick, Simon Rose, Gillian
Siddall, Julie Dawn Smith, Jesse Stewart, Clara Tomaz, Sherrie
Tucker, Lindsay Vogt, Zachary Wallmark, Ellen Waterman, David
Whalen, Pete Williams, Deborah Wong, Mandy-Suzanne Wong
Why Jazz Happened is the first comprehensive social history of
jazz. It provides an intimate and compelling look at the many
forces that shaped this most American of art forms and the many
influences that gave rise to jazz's post-war styles. Rich with the
voices of musicians, producers, promoters, and others on the scene
during the decades following World War II, this book views jazz's
evolution through the prism of technological advances, social
transformations, changes in the law, economic trends, and much
more. In an absorbing narrative enlivened by the commentary of key
personalities, Marc Myers describes the myriad of events and trends
that affected the music's evolution, among them, the American
Federation of Musicians strike in the early 1940s, changes in radio
and concert-promotion, the introduction of the long-playing record,
the suburbanization of Los Angeles, the Civil Rights movement, the
"British invasion" and the rise of electronic instruments. This
groundbreaking book deepens our appreciation of this music by
identifying many of the developments outside of jazz itself that
contributed most to its texture, complexity, and growth.
In the early spring of 1959, six musicians went into the 30th
Street Studio in New York. Nine hours later, they had recorded one
of the finest albums of the twentieth century. Kind of Blue traces
Miles Davis's development into an artist capable of making such a
masterpiece, and explores the careers and struggles of the
musicians who shaped him and played alongside him. Using interviews
and pictures, studio dialogue and outtakes, the great jazz
historian Ashley Kahn follows Miles and his group into the studio,
to show precisely how the greatest jazz record of all time was
made, how it was introduced to the world, and how it changed music
forever.
Pam Wedgwood's Really Easy Jazzin' About Piano is a vibrant
collection of original pieces arranged for solo piano in a range of
contemporary styles, tailor-made for the absolute beginner (Grade
0-2). Online audio is included this book, complete with
performances and backing tracks and slowed-down backings for
practice for an enhanced learning experience. So take a break from
the classics and get into the groove as you cruise from blues, to
rock, to jazz!
Microgroove continues John Corbett's exploration of diverse musics,
with essays, interviews, and musician profiles that focus on jazz,
improvised music, contemporary classical, rock, folk, blues,
post-punk, and cartoon music. Corbett's approach to writing is as
polymorphous as the music, ranging from oral history and
journalistic portraiture to deeply engaged cultural critique.
Corbett advocates for the relevance of "little" music, which
despite its smaller audience is of enormous cultural significance.
He writes on musicians as varied as Sun Ra, PJ Harvey, Koko Taylor,
Steve Lacy, and Helmut Lachenmann. Among other topics, he discusses
recording formats; the relationship between music and visual art,
dance, and poetry; and, with Terri Kapsalis, the role of female
orgasm sounds in contemporary popular music. Above all, Corbett
privileges the importance of improvisation; he insists on the need
to pay close attention to "other" music and celebrates its ability
to open up pathways to new ideas, fresh modes of expression, and
unforeseen ways of knowing.
Jazz Diaspora: Music and Globalisation is about the international
diaspora of jazz, well underway within a year of the first jazz
recordings in 1917. This book studies the processes of the global
jazz diaspora and its implications for jazz historiography in
general, arguing for its relevance to the fields of sonic studies
and cognitive theory. Until the late twentieth century, the
historiography and analysis of jazz were centred on the US to the
almost complete exclusion of any other region. The driving premise
of this book is that jazz was not 'invented' and then exported: it
was invented in the process of being disseminated. Jazz Diaspora is
a sustained argument for an alternative historiography, based on a
shift from a US-centric to a diasporic perspective on the music.
The rationale is double-edged. It appears that most of the world's
jazz is experienced (performed and consumed) in diasporic sites -
that is, outside its agreed geographical point of origin - and to
ignore diasporic jazz is thus to ignore most jazz activity. It is
also widely felt that the balance has shifted, as jazz in its
homeland has become increasingly conservative. There has been an
assumption that only the 'authentic' version of the music--as
represented in its country of origin--was of aesthetic and
historical interest in the jazz narrative; that the forms that
emerged in other countries were simply rather pallid and enervated
echoes of the 'real thing'. This has been accompanied by challenges
to the criterion of place- and race-based authenticity as a way of
assessing the value of popular music forms in general. As the
prototype for the globalisation of popular music, diasporic jazz
provides a richly instructive template for the study of the history
of modernity as played out musically.
Jazz Theory Workbook accompanies the second edition of the
successful Jazz Theory-From Basic to Advanced Study textbook
designed for undergraduate and graduate students studying jazz. The
overall pedagogy bridges theory and practice, combining theory,
aural skills, keyboard skills, and improvisation into a
comprehensive whole. While the Companion Website for the textbook
features aural and play-along exercises, along with some written
exercises and the answer key, this workbook contains brand-new
written exercises, as well as as well as four appendices: (1)
Rhythmic Exercises, (2) Common-Practice Harmony at the Keyboard,
(3) Jazz Harmony at the Keyboard, and (4) Patterns for Jazz
Improvisaton. Jazz Theory Workbook works in tandem with its
associated textbook in the same format as the 27-chapter book, yet
is also designed to be used on its own, providing students and
readers with quick access to all relevant exercises without the
need to download or print pages that inevitably must be written
out. The workbook is sold both on its own as well as discounted in
a package with the textbook. Jazz Theory Workbook particularly
serves the ever-increasing population of classical students
interested in jazz theory or improvisation. This WORKBOOK is
available for individual sale in various formats: Print Paperback:
9781138334250 Print Hardback: 9781138334243 eBook: 9780429445477
The paperback WORKBOOK is also paired with the corresponding
paperback TEXTBOOK in a discounted PACKAGE (9780367321963).
"In all my whole career the Brick House was one of the toughest
joints I ever played in. It was the honky-tonk where levee workers
would congregate every Saturday night and trade with the gals who'd
stroll up and down the floor and the bar. Those guys would drink
and fight one another like circle saws. Bottles would come flying
over the bandstand like crazy, and there was lots of just plain
common shooting and cutting. But somehow all that jive didn't faze
me at all, I was so happy to have some place to blow my horn." So
says Louis Armstrong, a tough kid who just happened to be a musical
genius, about one of the places where he performed and grew up.
This raucous, rich tale of his early days in New Orleans concludes
with his departure to Chicago at twenty-one to play with his
boyhood idol King Oliver, and tells the story of a life that began,
mythically, on July 4, 1900, in the city that sowed the seeds of
jazz.
Due to numerous piano teacher and student requests, Martha Mier has
written Book 5 in her best-selling Jazz, Rags & Blues series.
Titles: Blue Interlude * Hot Potato Rag * Jazz Finale * Memphis
Blues * Opening Night Jazz * Persnickety Rag * River City Blues *
Steamboat Jazz.
Free Jazz, Harmolodics, and Ornette Coleman discusses Ornette
Coleman's musical philosophy of "Harmolodics," an improvisational
system deeply inspired by the Civil Rights Movement. Falling under
the guise of "free jazz," Harmolodics can be difficult to
understand, even for seasoned musicians and musicologists. Yet this
book offers a clear and thorough approach to these complex methods,
outlining Coleman's position as the developer of a logical-and
historically significant-system of jazz improvisation. Included
here are detailed musical analyses of improvisations, accompanied
by full transcriptions. Intimate interviews between the author and
Coleman explore the deeper issues at work in Harmolodics, issues of
race, class, sex, and poverty. The principle of human equality
quickly emerges as a central tenet of Coleman's life and music.
Harmolodics is best understood when viewed in its essential form,
both as a theory of improvisation and as an artistic expression of
racial and human equality.
Jews and Jazz: Improvising Ethnicity explores the meaning of Jewish
involvement in the world of American jazz. It focuses on the ways
prominent jazz musicians like Stan Getz, Benny Goodman, Artie Shaw,
Lee Konitz, Dave Liebman, Michael Brecker, and Red Rodney have
engaged with jazz in order to explore and construct ethnic
identities. The author looks at Jewish identity through jazz in the
context of the surrounding American culture, believing that
American Jews have used jazz to construct three kinds of
identities: to become more American, to emphasize their minority
outsider status, and to become more Jewish. From the beginning,
Jewish musicians have used jazz for all three of these purposes,
but the emphasis has shifted over time. In the 1920s and 1930s,
when Jews were seen as foreign, Jews used jazz to make a more
inclusive America, for themselves and for blacks, establishing
their American identity. Beginning in the 1940s, as Jews became
more accepted into the mainstream, they used jazz to
"re-minoritize" and avoid over-assimilation through identification
with African Americans. Finally, starting in the 1960s as ethnic
assertion became more predominant in America, Jews have used jazz
to explore and advance their identities as Jews in a multicultural
society.
In this definitive work, Howard Morgen demonstrates all the tools,
techniques, and concepts to create masterful solo guitar
arrangements. This one-of-a-kind book with enhanced CD features 19
full song arrangements based on 11 classic jazz standards, which
are immediately applicable for professional usage. The enhanced CD
features demonstrations by Howard Morgen and Howard Alden, 6
complete video performances, plus printable PDFs aall accessible
from your computeras CD-ROM drive.
Titles: Round Midnight * Lial Darlina * The More I See You *
Stardust * Alone Together * Speak Low * Itas Only a Paper Moon * My
Funny Valentine * Body and Soul * My Foolish Heart * Nice Work, If
You Can Get It.
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