This title was first published in 2002. Through analyses of a number of Honegger's compositions, including extended analyses of two of Honegger's orchestral works, "Mouvement symphonique No. 2 (Rugby)" and "Symphonie pour cordes", Keith Waters examines the principles of musical organization in Honegger's music and shows how these principles are based on systematic rhythmic and contrapuntal strategies. Musical form in Honegger's work, the book argues, is articulated by contrapuntal and rhythmic structures rather than by tonal structure, and it is this that provides the source of compositional unity in Honegger's music.

This comprehensive work provides the fundamentals of computer facial animation and brings into sharper focus techniques that are becoming mainstream in the industry. Over the past decade, since the publication of the first edition, there have been significant developments by academic research groups and in the film and games industries leading to the development of morphable face models, performance driven animation, as well as increasingly detailed lip-synchronization and hair modeling techniques. These topics are described in the context of existing facial animation principles.

The second edition provides an up-to-date source for professionals and academic researchers working in the field of facial animation.

This title was first published in 2002. Through analyses of a number of Honegger's compositions, including extended analyses of two of Honegger's orchestral works, "Mouvement symphonique No. 2 (Rugby)" and "Symphonie pour cordes", Keith Waters examines the principles of musical organization in Honegger's music and shows how these principles are based on systematic rhythmic and contrapuntal strategies. Musical form in Honegger's work, the book argues, is articulated by contrapuntal and rhythmic structures rather than by tonal structure, and it is this that provides the source of compositional unity in Honegger's music.

This comprehensive work provides the fundamentals of computer facial animation and brings into sharper focus techniques that are becoming mainstream in the industry. Over the past decade, since the publication of the first edition, there have been significant developments by academic research groups and in the film and games industries leading to the development of morphable face models, performance driven animation, as well as increasingly detailed lip-synchronization and hair modeling techniques. These topics are described in the context of existing facial animation principles. The second edition provides an up-to-date source for professionals and academic researchers working in the field of facial animation.

The influence of Miles Davis's "second great quintet," consisting of Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) continues to resonate. Jazz musicians, historians, and critics have celebrated the group for its improvisational communication, openness, and its transitional status between hard bop and the emerging free jazz of the 1960s, creating a synthesis described by one quintet member as "controlled freedom." The book provides a critical analytical study of the Davis quintet studio recordings released between 1965-68, including E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro. In contrast to the quintet's live recordings, which included performances of older jazz standards, the studio recordings offered an astonishing breadth of original compositions. Many of these compositions have since become jazz standards, and all of them played a central role in the development of contemporary jazz composition. Using transcription and analysis, author Keith Waters illuminates the compositional, improvisational, and collective achievements of the group. With additional sources, such as rehearsal takes, alternate takes, session reels, and copyright deposits of lead sheets, he shows how the group in the studio shaped and altered features of the compositions. Despite the earlier hard bop orientation of the players, the Davis quintet compositions offered different responses to questions of form, melody, and harmonic structure, and they often invited other improvisational paths, ones that relied on an uncanny degree of collective rapport. And given the spontaneity of the recorded performances-often undertaken with a minimum of rehearsal-the players responded with any number of techniques to address formal, harmonic, or metrical discrepancies that arose while the tape was rolling. The book provides an invaluable resource for those interested in Davis and his sidemen, as well as in jazz of the 1960s. It serves as a reference for jazz musicians and educators, with detailed transcriptions and commentary on compositions and improvisations heard on the studio recordings.

The influence of Miles Davis's "second great quintet," consisting of Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) continues to resonate. Jazz musicians, historians, and critics have celebrated the group for its improvisational communication, openness, and its transitional status between hard bop and the emerging free jazz of the 1960s, creating a synthesis described by one quintet member as "controlled freedom." The book provides a critical analytical study of the Davis quintet studio recordings released between 1965-68, including E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro. In contrast to the quintet's live recordings, which included performances of older jazz standards, the studio recordings offered an astonishing breadth of original compositions. Many of these compositions have since become jazz standards, and all of them played a central role in the development of contemporary jazz composition. Using transcription and analysis, author Keith Waters illuminates the compositional, improvisational, and collective achievements of the group. With additional sources, such as rehearsal takes, alternate takes, session reels, and copyright deposits of lead sheets, he shows how the group in the studio shaped and altered features of the compositions. Despite the earlier hard bop orientation of the players, the Davis quintet compositions offered different responses to questions of form, melody, and harmonic structure, and they often invited other improvisational paths, ones that relied on an uncanny degree of collective rapport. And given the spontaneity of the recorded performances-often undertaken with a minimum of rehearsal-the players responded with any number of techniques to address formal, harmonic, or metrical discrepancies that arose while the tape was rolling. The book provides an invaluable resource for those interested in Davis and his sidemen, as well as in jazz of the 1960s. It serves as a reference for jazz musicians and educators, with detailed transcriptions and commentary on compositions and improvisations heard on the studio recordings.

Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, including harmony, form, and melody. Postbop jazz composers such as Wayne Shorter, Herbie Hancock, and Chick Corea broke with earlier tonal jazz traditions. Their compositions marked a departure from the techniques of jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms), and tonal harmonic progressions. The book develops analytical pathways through a number of compositions, including "El Gaucho," "Penelope," "Pinocchio," "Face of the Deep" (Shorter); "King Cobra," "Dolphin Dance," "Jessica" (Hancock); "Windows," "Inner Space," "Song of the Wind" (Corea); as well as "We Speak" (Little); "Punjab" (Henderson); "Beyond All Limits" (Shaw). These case studies offer ways to understand their harmonic syntax, melodic and formal designs, and general principles of harmonic substitution. By locating points of contact among these postbop techniques-and by describing their evolution from previous tonal jazz practices-the book illustrates the syntactic changes that emerged during the 1960s.

Explores the development of jazz from its nineteenth-century roots in ragtime and blues through swing and bebop to fusion and contemporary jazz styles.

Unique in its up-to-date coverage, Jazz: The First 100 Years devotes a full third of its length to performers of the 1960s to the present day. The book's flexible organization and clear, interesting presentation appeal to both music majors and general students. Extensive, accessible Listening Guides tie the history of jazz music directly to the CD selections, giving newcomers and aficionados alike a true feel for the vibrant, ever-changing sound of jazz.

Free with every book, the Audio Jazz Primer CD allows sudents to hear the key terms, basic music concepts, and jazz instruments discussed in the book.

Now in paperback! Showcases professional work in the arena of jazz theory. Among the contributors are scholars of jazz theory as well as musicians, including four of the founding members of the jazz section of the Society for Music Theory. The articles offer a close analysis of a wide variety of jazz styles and span the years from the 1920s to the 1960s. Feature articles include analyses of the music of Johnny Dodds, Charlie Parker, Herbie Hancock, Thelonious Monk and John Coltrane, an overview of jazz theory that examines its history and purpose, a discussion of linear intervallic patterns in the jazz repertory, and a review of scientific analyses of jazz microrhythms. Of great interest to jazz theorists, performers, educators and critics.

Equipping you with a true feel for the vibrant, ever-changing sound of jazz, the captivating JAZZ: THE FIRST 100 YEARS, ENHANCED MEDIA EDITION, 3e explores the development of jazz music from its nineteenth-century roots in blues and ragtime, through swing and bebop, to fusion and contemporary jazz styles. Biographies, social history, and timelines at the beginning of chapters put music into context, while insightful listening guides tie the history of jazz music directly to the downloadable selections. All-new interactive pre- and post-chapter quizzes help prepare you for upcoming topics as well as review what you have already learned. In addition, Audio Primer selections allow you to hear the key terms, basic music concepts, and jazz instruments discussed in the book. A printed access card with all of the music for the book comes with every copy of the printed text, and is also available via MindTap.