Creating the Jazz Solo

Author(s):  
Vic Hobson

Throughout his life, Louis Armstrong tried to explain how singing on the streets of New Orleans with a barbershop quartet was foundational to his musicianship. However, up to now, there has been no in-depth inquiry into what he meant when he said “I Figure Singing and Playing is the Same, “or “Singing was more into my blood than the trumpet.” This book shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played the book discusses elements of music theory. This is done in an approachable way for readers with little or no musical background. Jazz is a music that is often performed by people with a very limited musical education. Armstrong did not analyse what he played in theoretical terms, he thought about in terms of the voices in a barbershop quartet. This book describes Armstrong playing in term he would have understood. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz, and how he used this background of singing in a quartet to develop the jazz solo, has fundamental implications for the teaching of jazz performance today. This book provides a foundation for today’s musicians to learn to play jazz the Louis Armstrong way.

2021 ◽  
pp. 016237372110472
Author(s):  
Nathan Barrett ◽  
Deven Carlson ◽  
Douglas N. Harris ◽  
Jane Arnold Lincove

Theories of market-based school reform suggest that teacher labor markets may be inefficient because schools lack autonomy to incentivize performance in hiring, retention, and compensation. We test this empirically by comparing teacher exits in the deregulated market of New Orleans with neighboring traditional school districts. We find that the relationship between teacher performance and retention is stronger in the deregulated market. We also find positive associations between salary and performance, but only when teachers transfer from one charter school to another. While teacher retention is more closely tied to performance in New Orleans, this did not yield a net gain in teacher quality, because new teachers in New Orleans were of lower average quality than their peers in neighboring districts.


1976 ◽  
Vol 8 (4) ◽  
pp. 375-384 ◽  
Author(s):  
F Harary ◽  
J Rockey

In 1965 Christopher Alexander took the original step of analysing the city in graph theoretical terms and concluded that its historical or natural form is a semilattice and that urban planners of the future should adhere to this model. The idea was well received in architectural circles and has passed without serious challenge. In this paper, the value of such analysis is once again emphasized, although some of Alexander's arguments and his conclusions are refuted. Beginning with an exposition of the relationship between the graph theoretical concept of a tree, and the representation of a tree by a family of sets, we present a mathematical definition of a semilattice and discuss the ‘points’ and ‘lines’ of a graph in terms of a city, concluding that it is neither a tree nor a semilattice. This clears the ground for future graphical analysis. It seems that even general structural configurations, such as graphs or digraphs with certain specified properties, will fail to characterize a city, whose complexity, at this stage, may well continue to be understood more readily through negative rather than positive descriptions.


Author(s):  
Vic Hobson

This chapter explores Armstrong’s education in music at Abijah Fisk School. He learned music theory using the tonic sol-fa system that was taught in all New Orleans public schools. He sang songs from the Eleanor Smith Manual of Music (book 1). The program of music education in New Orleans was entirely vocal: there were no instrumental lessons. The music in the elementary years was sung in unison without part singing.


Author(s):  
Jonathan Preminger

Chapter 1 lays out the book’s theoretical framework. Accepting the claim that Israel is a neoliberalizing society, it asserts labor’s agency and its potential to thwart neoliberalism as part of a struggle taking place on the ideological or symbolic level too. It then proposes neocorporatism as a useful conceptual approach, and links this to union revitalization and concepts of power. These theoretical terms and concepts are used to anchor the three “spheres” of union activity which structure the book: union democracy, or workers’ relationship to their representative organization; the balance of power between labor and capital, and the way the potential clash of interests between them is viewed and played out; and the relationship of labor to the political establishment and wider political community. Finally, a short coda explains the research process and approach that led to the book.


Author(s):  
Nicola Phillips

This chapter focuses on the political economy of development. It first considers the different (and competing) ways of thinking about development that have emerged since the end of World War II, laying emphasis on modernization, structuralist, and underdevelopment theories, neo-liberalism and neo-statism, and ‘human development’, gender, and environmental theories. The chapter proceeds by exploring how particular understandings of development have given rise to particular kinds of development strategies at both the national and global levels. It then examines the relationship between globalization and development, in both empirical and theoretical terms. It also describes how conditions of ‘mal-development’ — or development failures — both arise from and are reinforced by globalization processes and the ways in which the world economy is governed.


2015 ◽  
Vol 20 (1) ◽  
pp. 24-41 ◽  
Author(s):  
Zhi Cao ◽  
Baofeng Huo ◽  
Yuan Li ◽  
Xiande Zhao

Purpose – This study aims to bridge the gap in understanding the effects of organizational culture on supply chain integration (SCI) by examining the relationships between organizational cultures and SCI. The extant studies investigating the antecedents of SCI focus mainly on environments, interfirm relationships and other firm-level factors. These studies generally overlook the role of organizational culture. The few studies that do examine the effects of organizational culture on SCI show inconsistent findings. Design/methodology/approach – By placing organizational culture within the competing value framework (CVF), this study establishes a conceptual model for the relationships between organizational culture and SCI. The study uses both a contingency approach and a configuration approach to examine these proposed relationships using data collected from 317 manufacturers across ten countries. Findings – The contingency results indicate that both development and group culture are positively related to all three dimensions of SCI. However, rational culture is positively related only to internal integration, and hierarchical culture is negatively related to both internal and customer integration. The configuration approach identifies four profiles of organizational culture: the Hierarchical, Flexible, Flatness and Across-the-Board profiles. The Flatness profile shows the highest levels of development, group and rational cultures and the lowest level of hierarchical culture. The Flatness profile also achieves the highest levels of internal, customer and supplier integration. Research limitations/implications – This study is subject to several limitations. In theoretical terms, this study does not resolve all of the inconsistencies in the relationship between organizational culture and SCI. In terms of methodology, this study uses cross-sectional data from high-performance manufacturers. Such data cannot provide strong causal explanations, but only broad and general findings. Practical implications – This study reminds managers to consider organizational culture when they implement SCI. The study also provides clues to help managers in assessing and adjusting organizational culture as necessary for SCI. Originality/value – This study makes two theoretical contributions. First, by examining the relationships between organizational culture and SCI in a new context, the findings of the study provide additional evidence to reconcile the previously inconsistent findings on this subject. Second, by departing from the previous practice of investigating only particular dimensions of organizational culture, this study adopts a combined contingency and configuration approach to address both the individual and synergistic effects of all dimensions of organizational culture. This more comprehensive approach deepens our understanding of the relationship between organizational culture and SCI.


1996 ◽  
Vol 16 ◽  
pp. 369-376
Author(s):  
Elzbieta Witkowska-Zaremba

Seeking to indicate the most salient features of the medieval perception of music, we must first of all point to the close relationship between the sensual and intellectual elements. This relationship is most conspicuous in the term "harmonica" introduced in the Latin Middle Ages by Boethius and defined as follows: "harmonica is the faculty of perceiving through senses and the intellect the differences between high and low sounds". The same definition reveals another significant feature of the perception of music, namely, that the importance is attached not to individual sounds, but to the differences or relationships between them, that is to the intervals. Since - in accordance with the Pythagorean tradition, which was a major force in medieval music theory - the relationship between sounds can be expressed numerically, it may therefore be considered in terms of the relationship of two numbers, apart from actual sound and beyond physical time. The question arises whether this concept of music could influence the perception of a medieval listener. For instance, can listening to music be understood as a process which engages both cognitive powers and concerns reducing in some unspecified manner the data perceived and processed by the senses to abstract categories which can be conceived only by the intellect?.


2020 ◽  
Vol 15 (1) ◽  
pp. 112-126
Author(s):  
Hakan Bagci

The primary problem of this study is to determine whether there is a significant relationship between the attitudes towards harmony courses and the piano playing habits of the students. In this study, a correlational survey model was employed. The population of this study consisted of students who are studying at music departments in Turkey during the academic year of 2019–2020 and the sample included 248 students from nine different universities and four different departments related to music (Music Education, Performance, Musicology and Turkish Music). For data collection purposes, the scale of attitudes towards harmony courses developed, the scale of piano playing habits developed and a questionnaire to determine the variables affecting students’ habits and attitudes developed by the researcher were used. There is no significant difference found between the students’ departments and their piano playing habits. The study revealed that students’ piano playing habits varied according to their personal instruments. Keywords: Attitudes, harmony education, music education, music theory, piano education.


2020 ◽  
Vol 17 (4) ◽  
pp. 999-1013
Author(s):  
Zeynep Kunduroğlu Erat ◽  
Alper Akdeniz

Mevlevi Ceremony has an important place among Turkish Music and Turkish Religious Music forms in terms of Turkish Music theory and pattern. The examination of the works in this form written in a rich composition technique and having a comprehensive and wide functioning is very important for Turkish Religious Music. In this study, it has been aimed to explain in detail the whole of the Sazkar Mevlevî Âyîni, which were composed by Zeki Atkosar, one of the composers of today's Mevlevî rituals, in terms of relation with pattern and Aruz prosody and in the methods used in rituals, the relationship between Aruz measures in which the songs are written. Within this direction, the concept of ‘Mevlevî Âyîni Şerîf’ has been explained in the first title of the study. In the second title of this work, the concepts of pattern and aruz prosody being the basis of analysis studies have been mentioned. In the third chapter; the life, art and works of composer Zeki Atkosar have been explained. In the last part; the syllabic distribution of the song of ‘Sazkâr Mevlevî Âyîni Şerîf ’ chapters was examined by placing the main patterns and velvele beats in the templates.The aruz prosody meters of the song were determined  and their shape features and meanings were explained. In this context, it was found that the syllable distributions of the song were mostly placed regularly. ​Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet Mevlevî Âyînleri, Türk Mûsikîsi ve Türk Din Mûsikîsi formları içerisinde Türk Mûsikîsi nazariyatı ve usûlleri açısından büyük formlar arasında önemli bir yere sahiptir. Zengin bir besteleme tekniğiyle yazılmış, kapsamlı ve geniş işleyişi olan bu formdaki eserlerin incelenmesi Türk Din Mûsikîsi için önem taşımaktadır. Bu çalışmada, günümüz Mevlevî Âyîni bestekârlarından Zeki Atkoşar’ın bestelemiş olduğu Sazkâr Mevlevî Âyîninin tamamının usûl-arûz vezni ilişkisi yönünden incelenmesi ve Âyîni Şerîflerde kullanılan usûllerle, güftelerin yazıldığı arûz kalıpları arasındaki ilişkinin ayrıntılı olarak ortaya konulması amaçlanmıştır. Bu doğrultuda çalışmanın ilk başlığında ‘Mevlevî Âyîni Şerîfi’ açıklanmıştır. İkinci başlıkta analiz çalışmasının temeli olan ‘usûl’ ve ‘arûz’ konularına değinilmiştir. Üçüncü başlıkta bestekâr Zeki Atkoşar’ın hayatı, sanatı ve eserleri hakkında bilgi verilmiştir. Son olarak Sazkâr Mevlevî Âyîni Şerîf’e ait Selâmların güftelerinin vezne bağlı hece dağılımları ile hazırlanan usûllerin ana kalıp vevelvele darpları şablonlarına yerleştirilerek incelenmiştir. Güftelerin arûz vezinleri tespit edilip, şekil özellikleri ve anlamları açıklanmıştır. Bu bağlamda güftelerin hece dağılımlarının çoğunlukla düzenli olarak yerleştirildiği tespit edilmiştir.


Author(s):  
Edward Venn

Cornelius Cardew was a leading figure in British experimental music in the 1960s and a committed political activist in the 1970s. His earlier music, particularly that inspired by Cage, demonstrates on going concerns with the relationship between composer and performer, not least in the emphasis placed on improvisation. His later politically motivated music abandoned avant-garde and experimental principles in favor of a direct, tonal idiom. He died after a hit-and-run incident in East London. Cardew’s musical education was conventional; first as a boy chorister at Canterbury Cathedral (1943–50) and then at the Royal Academy of Music (1953–57). He had a philosophical nature too, apparent in his enduring fascination with Wittgenstein’s Tractutus. Cardew familiarized himself early on with early-twentieth-century serialism and increasingly with the continental avant-garde: at nineteen, he gave (together with fellow student Richard Rodney Bennet) the London premiere of Pierre Boulez’s Structures I and taught himself guitar in order to participate in the 1957 London premiere of LeMarteau Sans Maître. Many of Cardew’s compositions of this era reflected such interests, as in his Piano Sonata No. 2 (1956).


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