Introduction
The introduction begins with a discussion of the nature of jazz composition, advancing the view that improvisations can sometimes become compositions. The concept of an authoritative recording is discussed, that is, that a recording with sufficient properties may instantiate a composition in lieu of an officially notated version. The book’s method of listing and categorizing Parker compositions then follows. For the latter, Parker’s compositions are divided into seven groups, which proceed from fully composed 32-bar pieces to those works with minimal music. This final group also includes improvised pieces. The introduction ends by citing significant prior studies and explaining the book’s analytical approaches.
2013 ◽
Vol 45
(2)
◽
pp. 203-204
Keyword(s):
2014 ◽
Keyword(s):
2020 ◽
Vol 28
(2)
◽
pp. 213-237
◽