Araştırma Makalesi
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Jazz Interpretations of Classical Musical Works

Yıl 2024, , 559 - 583, 25.12.2024
https://doi.org/10.26650/CONS2024-1528675

Öz

This study aims to elucidate the interpretation of jazz music within the classical mu sic domain through specific works, examining the improvisations and arrangements of jazz music on compositions from various periods of classical music. It assesses themes of improvisation in both classical and jazz music, as well as the interpretations of jazz music within aclassical context. The selected musical material provides an op portunity for analytical examination of various forms of classical music representation in piano jazz and identifying the mechanisms of ‘translating’ academic compositions into thelanguageofjazzart.Theresearchdemonstratesthatthetransformationofclas sical sources occurs at intonational, harmonic-modal, metrorhythmic, and structural levels. By characterising piano jazz and tracing its multifaceted history, the author highlights the main directions characteristic of performance on this instrument.

Kaynakça

  • Alperson, P. (1998). Improvisation: An Overview. In Michael Kelly (Ed.), Encyclopedia of Aesthetics (pp. 2-478). New York: Oxford University Press. google scholar
  • Alperson, P. (2010). A Topography oflmprovisation. The Journal ofAesthetics and Art Criticism, 68(3), 273-280. google scholar
  • Bailey, D. (1992). Improvisation: Its nature and practice in music. London: British Library. google scholar
  • Barrett, F. (1998). Creativity and improvisation in jazz and organizations: Implications for organizational learning. Organization Science, 9(5), 407-424. google scholar
  • Berendt, J.-E. (2009). The jazz book: From ragtime to the 21st century. New York: Lawrence Hill Books. google scholar
  • Berliner, P. (1994). Thinking in jazz: The infinite art of improvisation. Chicago: The University of Chicago Press. google scholar
  • Bitz, M. (1998). Teaching Improvisation outside of Jazz Settings: Musical genres that lend themselves to improvisations by beginning student musicians include bluegrass, blues, ska, reggae, rap, klezmer, and rock. Music Educators Journal, 84(4), 21-41. google scholar
  • Buelow, G. J. (1990). Originality, genius, plagiarism in English criticism of the eighteenth century. International Review of the Aesthetics and Sociology of Music, 21(2), 117-128. google scholar
  • Calenza, A. (2011). Duke Ellington, Billy Strayhorn, and the adventures of Peer Gynt in America. Music & Politics, 5(2), 1-22. google scholar
  • Canonne, C. (2013). Focal points in collective free improvisation. Perspectives of New Music, 51(1), 40-55. google scholar
  • Collier, J. (1978). The Making of Jazz: A Comprehensive History. London: Granada Publishing. google scholar
  • Current, G. B. (1974). Duke Ellington. The Black Perspective in Music, 2(2), 173-178. google scholar
  • Derrida, J. (1973). Speech and phenomenon (D. B. Allison & N. Garver, Trans. & Eds.). Chicago: Northwestern University Press. google scholar
  • Derrida, J. (1978). Writing and difference (A. Bass, Trans.). Chicago: University of Chicago Press. google scholar
  • Dyson, K. (2007). Learning jazz improvisation (PhD diss., Sheffield University). google scholar
  • Eco, U. (1982). The aesthetics of Chaosmos: The Middle Ages of James Joyce. Tulsa, OK: University of Tulsa. google scholar
  • Eco, U. (1989). The open work (A. Cancogni, Trans.). Cambridge: Harvard University Press. google scholar
  • Feinberg, S. (n.d.). The composer and the performer. Stanford University Blog. Retrieved April 8, 2024, from https://math.stanford.edu/~ryzhik/Feinberg1.html google scholar
  • Fisher, N. (2009, April 10). How Handel became England’s national treasure. The Times. Retrieved April 3, 2024, from https://www.thetimes. co.uk/article/how-handel-became-englands-national-treasure-xrp0mjnv3b8 google scholar
  • Floyd, S. A. (1995). The power of black music: Interpreting its history from Africa to the United States. New York & Oxford: Oxford University Press. google scholar
  • Foreman, I. (2005). The culture and poetics of jazz improvisation (PhD diss., University of London). google scholar
  • Gioia, Ted. (2017). The History of Jazz. New York & Oxford: Oxford University Press. google scholar
  • Hamilton, A. (1990). The aesthetics of imperfection. Philosophy, 65(253), 323-340. google scholar
  • Harrison, M. (1993). The Duke Ellington reader (M. Tucker, Ed.). New York: Oxford University Press. google scholar
  • Hodeir, A. (2006). Jazz reader. Michigan: University of Michigan Press. google scholar
  • Kernfeld, B. (1997). What to Listen for in Jazz. New Haven: Yale University Press. google scholar
  • Kernfeld, B. (Ed.). (1988). The new Grove dictionary of jazz (Vol. 1). New York: Macmillan Press. google scholar
  • Latin-Dictionary. (n.d.). Improvisation (n.). In Latin-Dictionary.net. Retrieved April 1, 2024, from http://latin-dictionary.net/definition/22961/ improvisus- improvisa- improvisum google scholar
  • Lora, D. (1979). Musical pattern perception. College Music Symposium, 19(1), 166-182. google scholar
  • Mehldau, B. (n.d.). House on hill. Retrieved April 1, 2024, from http://www.bradmehldau.com/essay-house-on-hill google scholar
  • Moore, R. D. (1992). The decline of improvisation in western art music: An interpretation of change. International Review of the Aesthetics and Sociology of Music, 23(1), 61-84. google scholar
  • Murray, N. (2009). Handel’s notoriety as a borrower: Plagiarism and English national identity (BA diss., Wheaton College). google scholar
  • Nooshin, L. (1998). The song of the nightingale: Processes of improvisation in Sastgah Segah (Iranian classical music). British Journal of Ethnomusicology, 7, 69-116. google scholar
  • O’Connor, N. (n.d.). Notation in space: Notation, the performer, interpretation and improvisation. Retrieved April 1, 2024, from https://www. researchgate.net/publication/321682633_Notation_in_Space_Notation_the_Performer_Interpretation_and_Improvisation google scholar
  • Oxford English Dictionary. (n.d.). Interpretation (n.). In OED Online. Retrieved April 1, 2024, from https://www.oed.com/dictionary/ interpretation_n?tl=true&tab=etymology- paywall google scholar
  • Rolland, R. (1916). Handel (A. E. Hull, Trans.). London: K. Paul, Trench, Trubner & Co. google scholar
  • Sargent, W. (1946). Jazz, hot and hybrid. New York: Da Capo Press. google scholar
  • Smith, K. (n.d.). Jazz, interpolation and improvisation. George and Ira Gershwin’s Fascinating Rhythm as recorded by Ella Fitzgerald and Dianne Reeves. SSRN. Retrieved April 8, 2024, from https://ssrn.com/abstract=1096292 google scholar
  • Sterritt, D. (2000). Revision, Prevision, and the Aura of Improvisatory Art. The Journal ofAesthetics and Art Criticism, 58(2), 163-172. google scholar
  • Taylor, B. (1975). The history and development of jazz piano: A new perspective for educators (PhD diss., University of Massachusetts Amherst). google scholar
  • Teachout, T. (2000). Jazz and classical music: To the third stream and beyond. In B. Kirchner (Ed.), The Oxford companion to jazz (pp. 546-559). Oxford: Oxford University Press. google scholar
  • The Concise Oxford Dictionary. (n.d.). Improvisation (by J. Pearsal). google scholar
  • Van de Leur, W. (2002). Something to live for: The music of Billy Strayhorn. New York: Oxford University Press. google scholar
  • Vigran, J. (2020). The rise and fall of piano improvisation in western classical music performance: Why today’s piano students should be learning to improvise (PhD diss., University of North Texas). google scholar
  • Williams, K. (2011). Valuing jazz: Cross-cultural comparisons of the classical influence in jazz (PhD diss., University of Nottingham). google scholar
  • Wriggle, J. (2012). Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet. Journal of the Society for American Music, 6 (2), 175-209. google scholar
  • Zaunbrecher, N. (2011). The Elements of Improvisation: Structural Tools for Spontaneous Theatre. Theatre Topics. 21, 49-60. google scholar

Caz Yorumunda Klasik Müzik

Yıl 2024, , 559 - 583, 25.12.2024
https://doi.org/10.26650/CONS2024-1528675

Öz

Bu çalışma, klasik müziğin çeşitli dönemlerine ait besteler üzerinde caz müziğinin doğaçlama ve düzenlemelerini inceleyerek, klasik müzik alanında caz müziğinin yorumlanmasını belirli eserler üzerinden aydınlatmayı amaçlamaktadır. Hem klasik hem de caz müziğindeki doğaçlama temalarının yanı sıra caz müziğinin klasik bağlamdaki yorumlarıdadeğerlendiriliyor.Seçilenmüzikalmateryal,piyanocazındaklasikmüzik temsilinin çeşitli biçimlerinin analitik olarak incelenmesi ve akademik bestelerin caz sanatının diline ’tercüme’ mekanizmalarının belirlenmesi için bir fırsat sunuyor. Araştırma, klasik kaynakların dönüşümünün entonasyonel, armonik-modal, metroritmik ve yapısal seviyelerde gerçekleştiğini göstermektedir. Yazar, piyano cazını karakterize ederek ve çok yönlü tarihinin izini sürerek, bu enstrümandaki performansın karakteristik ana yönlerini vurgulamaktadır.

Kaynakça

  • Alperson, P. (1998). Improvisation: An Overview. In Michael Kelly (Ed.), Encyclopedia of Aesthetics (pp. 2-478). New York: Oxford University Press. google scholar
  • Alperson, P. (2010). A Topography oflmprovisation. The Journal ofAesthetics and Art Criticism, 68(3), 273-280. google scholar
  • Bailey, D. (1992). Improvisation: Its nature and practice in music. London: British Library. google scholar
  • Barrett, F. (1998). Creativity and improvisation in jazz and organizations: Implications for organizational learning. Organization Science, 9(5), 407-424. google scholar
  • Berendt, J.-E. (2009). The jazz book: From ragtime to the 21st century. New York: Lawrence Hill Books. google scholar
  • Berliner, P. (1994). Thinking in jazz: The infinite art of improvisation. Chicago: The University of Chicago Press. google scholar
  • Bitz, M. (1998). Teaching Improvisation outside of Jazz Settings: Musical genres that lend themselves to improvisations by beginning student musicians include bluegrass, blues, ska, reggae, rap, klezmer, and rock. Music Educators Journal, 84(4), 21-41. google scholar
  • Buelow, G. J. (1990). Originality, genius, plagiarism in English criticism of the eighteenth century. International Review of the Aesthetics and Sociology of Music, 21(2), 117-128. google scholar
  • Calenza, A. (2011). Duke Ellington, Billy Strayhorn, and the adventures of Peer Gynt in America. Music & Politics, 5(2), 1-22. google scholar
  • Canonne, C. (2013). Focal points in collective free improvisation. Perspectives of New Music, 51(1), 40-55. google scholar
  • Collier, J. (1978). The Making of Jazz: A Comprehensive History. London: Granada Publishing. google scholar
  • Current, G. B. (1974). Duke Ellington. The Black Perspective in Music, 2(2), 173-178. google scholar
  • Derrida, J. (1973). Speech and phenomenon (D. B. Allison & N. Garver, Trans. & Eds.). Chicago: Northwestern University Press. google scholar
  • Derrida, J. (1978). Writing and difference (A. Bass, Trans.). Chicago: University of Chicago Press. google scholar
  • Dyson, K. (2007). Learning jazz improvisation (PhD diss., Sheffield University). google scholar
  • Eco, U. (1982). The aesthetics of Chaosmos: The Middle Ages of James Joyce. Tulsa, OK: University of Tulsa. google scholar
  • Eco, U. (1989). The open work (A. Cancogni, Trans.). Cambridge: Harvard University Press. google scholar
  • Feinberg, S. (n.d.). The composer and the performer. Stanford University Blog. Retrieved April 8, 2024, from https://math.stanford.edu/~ryzhik/Feinberg1.html google scholar
  • Fisher, N. (2009, April 10). How Handel became England’s national treasure. The Times. Retrieved April 3, 2024, from https://www.thetimes. co.uk/article/how-handel-became-englands-national-treasure-xrp0mjnv3b8 google scholar
  • Floyd, S. A. (1995). The power of black music: Interpreting its history from Africa to the United States. New York & Oxford: Oxford University Press. google scholar
  • Foreman, I. (2005). The culture and poetics of jazz improvisation (PhD diss., University of London). google scholar
  • Gioia, Ted. (2017). The History of Jazz. New York & Oxford: Oxford University Press. google scholar
  • Hamilton, A. (1990). The aesthetics of imperfection. Philosophy, 65(253), 323-340. google scholar
  • Harrison, M. (1993). The Duke Ellington reader (M. Tucker, Ed.). New York: Oxford University Press. google scholar
  • Hodeir, A. (2006). Jazz reader. Michigan: University of Michigan Press. google scholar
  • Kernfeld, B. (1997). What to Listen for in Jazz. New Haven: Yale University Press. google scholar
  • Kernfeld, B. (Ed.). (1988). The new Grove dictionary of jazz (Vol. 1). New York: Macmillan Press. google scholar
  • Latin-Dictionary. (n.d.). Improvisation (n.). In Latin-Dictionary.net. Retrieved April 1, 2024, from http://latin-dictionary.net/definition/22961/ improvisus- improvisa- improvisum google scholar
  • Lora, D. (1979). Musical pattern perception. College Music Symposium, 19(1), 166-182. google scholar
  • Mehldau, B. (n.d.). House on hill. Retrieved April 1, 2024, from http://www.bradmehldau.com/essay-house-on-hill google scholar
  • Moore, R. D. (1992). The decline of improvisation in western art music: An interpretation of change. International Review of the Aesthetics and Sociology of Music, 23(1), 61-84. google scholar
  • Murray, N. (2009). Handel’s notoriety as a borrower: Plagiarism and English national identity (BA diss., Wheaton College). google scholar
  • Nooshin, L. (1998). The song of the nightingale: Processes of improvisation in Sastgah Segah (Iranian classical music). British Journal of Ethnomusicology, 7, 69-116. google scholar
  • O’Connor, N. (n.d.). Notation in space: Notation, the performer, interpretation and improvisation. Retrieved April 1, 2024, from https://www. researchgate.net/publication/321682633_Notation_in_Space_Notation_the_Performer_Interpretation_and_Improvisation google scholar
  • Oxford English Dictionary. (n.d.). Interpretation (n.). In OED Online. Retrieved April 1, 2024, from https://www.oed.com/dictionary/ interpretation_n?tl=true&tab=etymology- paywall google scholar
  • Rolland, R. (1916). Handel (A. E. Hull, Trans.). London: K. Paul, Trench, Trubner & Co. google scholar
  • Sargent, W. (1946). Jazz, hot and hybrid. New York: Da Capo Press. google scholar
  • Smith, K. (n.d.). Jazz, interpolation and improvisation. George and Ira Gershwin’s Fascinating Rhythm as recorded by Ella Fitzgerald and Dianne Reeves. SSRN. Retrieved April 8, 2024, from https://ssrn.com/abstract=1096292 google scholar
  • Sterritt, D. (2000). Revision, Prevision, and the Aura of Improvisatory Art. The Journal ofAesthetics and Art Criticism, 58(2), 163-172. google scholar
  • Taylor, B. (1975). The history and development of jazz piano: A new perspective for educators (PhD diss., University of Massachusetts Amherst). google scholar
  • Teachout, T. (2000). Jazz and classical music: To the third stream and beyond. In B. Kirchner (Ed.), The Oxford companion to jazz (pp. 546-559). Oxford: Oxford University Press. google scholar
  • The Concise Oxford Dictionary. (n.d.). Improvisation (by J. Pearsal). google scholar
  • Van de Leur, W. (2002). Something to live for: The music of Billy Strayhorn. New York: Oxford University Press. google scholar
  • Vigran, J. (2020). The rise and fall of piano improvisation in western classical music performance: Why today’s piano students should be learning to improvise (PhD diss., University of North Texas). google scholar
  • Williams, K. (2011). Valuing jazz: Cross-cultural comparisons of the classical influence in jazz (PhD diss., University of Nottingham). google scholar
  • Wriggle, J. (2012). Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet. Journal of the Society for American Music, 6 (2), 175-209. google scholar
  • Zaunbrecher, N. (2011). The Elements of Improvisation: Structural Tools for Spontaneous Theatre. Theatre Topics. 21, 49-60. google scholar
Toplam 47 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Müzik (Diğer)
Bölüm Araştırma Makalesi
Yazarlar

Stacy Olive Jarvis 0000-0002-5113-4792

Yayımlanma Tarihi 25 Aralık 2024
Gönderilme Tarihi 5 Ağustos 2024
Kabul Tarihi 13 Kasım 2024
Yayımlandığı Sayı Yıl 2024

Kaynak Göster

APA Jarvis, S. O. (2024). Jazz Interpretations of Classical Musical Works. Konservatoryum, 11(2), 559-583. https://doi.org/10.26650/CONS2024-1528675