scholarly journals Developmental Devices Used to Create Coherence and Unity in Multi-Movement Suites in a Modern Jazz Orchestra Setting

2021 ◽  
Author(s):  
◽  
Ryan Brake
Keyword(s):  
New York ◽  
Detailed Analysis ◽  
Jazz Orchestra ◽  
Modern Jazz ◽  
Musical Concepts

<p>Solipsis is a six-movement composition for a seventeen-piece jazz orchestra. Each movement was composed to possess its own unique qualities and be able to stand alone. Yet one of the main objectives of this project was to create unity and coherence through the entire suite through the use of non-musical ideas like programmatic themes and conceptual ideas as well as applying various musical techniques such as melodic motifs, harmonic progressions and concepts, chord voicings and rhythm to develop musical ideas.  As a way of creating a sense of unity between each of the pieces, each movement is inspired by themes and motifs inherent in the film Synecdoche, New York, and musical concepts such as nonfunctional harmony (modal harmony and atonal harmony) form the basis for much of the melodic and harmonic material contained in Solipsis.  As preparation for the composition of Soilipsis I studied two three-movement suites from two of the more prominent jazz orchestra writers working today; One Question, Three Answers written by Jim McNeely, and Scenes from Childhood by Maria Schnieder. What follows is a detailed analysis of their works followed by a comprehensive breakdown of my own Solipsis.</p>

scholarly journals Developmental Devices Used to Create Coherence and Unity in Multi-Movement Suites in a Modern Jazz Orchestra Setting

2021 ◽  
Author(s):  
◽  
Ryan Brake
Keyword(s):  
New York ◽  
Detailed Analysis ◽  
Jazz Orchestra ◽  
Modern Jazz ◽  
Musical Concepts

<p>Solipsis is a six-movement composition for a seventeen-piece jazz orchestra. Each movement was composed to possess its own unique qualities and be able to stand alone. Yet one of the main objectives of this project was to create unity and coherence through the entire suite through the use of non-musical ideas like programmatic themes and conceptual ideas as well as applying various musical techniques such as melodic motifs, harmonic progressions and concepts, chord voicings and rhythm to develop musical ideas.  As a way of creating a sense of unity between each of the pieces, each movement is inspired by themes and motifs inherent in the film Synecdoche, New York, and musical concepts such as nonfunctional harmony (modal harmony and atonal harmony) form the basis for much of the melodic and harmonic material contained in Solipsis.  As preparation for the composition of Soilipsis I studied two three-movement suites from two of the more prominent jazz orchestra writers working today; One Question, Three Answers written by Jim McNeely, and Scenes from Childhood by Maria Schnieder. What follows is a detailed analysis of their works followed by a comprehensive breakdown of my own Solipsis.</p>

The Museum of Primitive Art, 1940–1982

Entitled ◽  
2019 ◽  
pp. 41-69
Author(s):  
Jennifer C. Lena
Keyword(s):  
New York ◽  
Small Group ◽  
Detailed Analysis ◽  
Metropolitan Museum ◽  
Ideal Case ◽  
Metropolitan Museum Of Art ◽  
Art Collection ◽  
History Of ◽  
The Creation

This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.

Blackbirds in New York

2021 ◽  
pp. 39-64
Author(s):  
Constance Valis Hill
Keyword(s):  
New York ◽  
Jazz Orchestra ◽  
Home Base

This chapter narrates the performances of the Nicholas Kids/Nicholas Brothers in various contexts including Pie, Pie, Blackbird, a Vitaphone short subject film featuring Eubie Blake and his jazz orchestra, and the twenty-first edition of the Cotton Club Parade with Cab Calloway and His Cotton Club Orchestra. The Cotton Club became home base for the Nicholases, despite the strict segregation of the races (all performers black, clientele white) and afforded them the opportunity to hone their musical routines under the auspices of Cab Calloway and Duke Ellington’s bands.

scholarly journals Virginia L. Campbell, The Tombs of Pompeii: Organization, Space and Society, New York, 2015.

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Zrinka Serventi
Keyword(s):  
New York ◽  
Social Organization ◽  
Detailed Analysis ◽  
Systematic Study ◽  
Social Economic ◽  
Funerary Monuments ◽  
The Third ◽  
Extensive Documentation ◽  
Or Groups ◽  
Funerary Inscriptions

Virginia L. Campbell in her book “The Tombs ofPompeii: Organization, Space and Society” offers acomprehensive overview of graves, tombs and developmentof the necropoleis in Pompeii throughaspects of spatial and social organization. The bookis organized in seven chapters, three appendices(catalogues of graves, tombs and funerary inscriptions),index, and illustrations which correspondwell to the text. The book is a result of researchundertaken by the author for her dissertation basedon analysis of extensive documentation and seriesof very diverse scientific works dealing with Pompeiiand their necropoleis but concentrating mostlyon the most famous and most decorative finds andtombs without systematic study of entire scopeof the sepulchral area. In her study the author attemptedto solve some crucial questions, primarilyif detailed analysis of each individual burial areacan reveal social, economic, legal or cult traditionsand regulations (possibly specific only for Pompeii);ways in which funerary monuments reflect behaviourof the individuals or groups, and administrativeprocedures necessary for organization of afuneral. The author answers these questions in thediscussion parts of the book, from the third to thesixth chapter.

scholarly journals California’s Composer Laureate

2013 ◽  
Vol 3 (2) ◽  
pp. 34-51
Author(s):  
Anthony Macías
Keyword(s):  
New York ◽  
Cultural History ◽  
San Francisco ◽  
California History ◽  
Big Band ◽  
Alta California ◽  
Mexican Culture ◽  
Modern Jazz ◽  
Musical Philosophy ◽  
The 1960S

This essay uses the 1960s, Gerald Wilson’s most prolific period, as a window into his life and work as a big band jazz trumpeter, soloist, arranger, conductor, and composer. This selective snapshot of Wilson’s career inserts him more fully into jazz—and California—history, while analyzing the influence of Latin music and Mexican culture on his creations. Tracing the black-brown connections in his Alta California art demonstrates an often-overlooked aspect of Wilson’s musical legacy: the fact that he wrote, arranged, recorded, and performed Latin-tinged tunes, especially several brassy homages to Mexican bullfighters, as well as Latin jazz originals. Wilson’s singular soul jazz reveals the drive and dedication of a disciplined artist—both student and teacher—who continually honed his craft and expanded his talents as part of his educational and musical philosophy. Wilson’s California story is that of an African American migrant who moves out west, where he meets a Chicana Angelena and starts a family—in the tradition of Cali-mestizaje—then stays for the higher quality of life, for the freedom to raise his children and live as an artist, further developing and fully expressing his style. However, because he never moved to New York, Wilson remains under-researched and underappreciated by academic jazz experts. Using cultural history and cultural studies research methods, this essay makes the case that Gerald Wilson should be more widely recognized and honored for his genius, greatness, and outstanding achievements in the field of modern jazz, from San Francisco to Monterey, Hollywood, and Hermosa Beach.

scholarly journals A Study of Long-Form Works for the Jazz Ensemble

2021 ◽  
Author(s):  
◽  
Ryan Brake
Keyword(s):  
Case Studies ◽  
Narrative Structure ◽  
Integrative Approach ◽  
Jazz Orchestra ◽  
Big Band ◽  
Jazz Composition ◽  
Paul Klee ◽  
Jazz Ensemble ◽  
Modern Jazz ◽  
Long Form

<p>Reflections (In Mosaic) is a long-form work written for a modern jazz orchestra. While made up of seven smaller parts, it is intended to be listened to as a single continuous performance. Reflections (In Mosaic) serves as an exploration into formal structures more complex than the standard blues and cyclical AABA forms. This is achieved through the use of inter-related musical themes, transitional material that develops musical themes and propels the story of the piece forward, programmatic themes, and a consideration towards a more integrative approach to improvised sections in a modern jazz composition context.  This exegesis features a comprehensive musical and topical analysis of four case studies: Duke Ellington’s Harlem (1951), Charles Mingus’s Fables of Faubus (1959), Gunther Schuller’s Seven Studies on Themes of Paul Klee (1959), and Pat Metheny and Lyle Mays’s The Way Up (2005). In my analysis I examine the features of long-form works from a range of different angles through discussions on: (1) the formal features of the symphonic jazz genre and the integration of concert-style gestures into the jazz big band tradition, (2) the role performance and improvisation can have in communicating an idea within a composed structure, (3) the use of programmatic themes, and (4) a model for a structural design which draws on comparisons to narrative structure.  Of particular importance to my compositional project is the use of a programmatic theme. Reflections is directly inspired by the film Magnolia (1999), written and directed by Paul Thomas Anderson. I do not attempt to mirror the narrative or structure of the film in Reflections but, instead, loosely base the composition on the film’s characters and topical themes. The culmination of this exegesis is a discussion of how the four case studies informed my own compositional processes.</p>

Gillespie, Dizzy (1917–93)

2018 ◽  
Author(s):  
Dustin Garlitz
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Big Band ◽  
John Coltrane ◽  
Modern Jazz ◽  
Small Band ◽  
Latin Jazz ◽  
Charlie Parker ◽  
Artistic Career

Dizzy Gillespie was an American jazz trumpeter, composer, and bandleader. Over the course of his artistic career Gillespie was based in New York City, where he was first active performing in big bands, eventually leading bands of his own. Along with his musical colleague, alto saxophonist Charlie Parker, Gillespie was one of the progenitors of the modern jazz movement bebop in the 1940s. Considered one of the pioneers of Latin jazz, especially Afro-Cuban jazz, Gillespie traveled extensively, performing with an international roster of musicians. Compositions that reflect this style of jazz include "Tin Tin Deo," and "Manteca" (1947). Gillespie’s musical orientation to Afro rhythms was evident as early as 1942, when he composed the jazz standard "A Night in Tunisia." When he dissembled his big band to form a sextet in 1949, Gillespie gave modern jazz tenor saxophonist John Coltrane his start in improvisational focussed small band work.

Monk, Thelonious (1917–1982)

2018 ◽  
Author(s):  
Dustin Garlitz
Keyword(s):  
New York ◽  
Big Band ◽  
Avant Garde ◽  
Thelonious Monk ◽  
John Coltrane ◽  
Greenwich Village ◽  
Modern Jazz ◽  
Duke Ellington ◽  
Charlie Parker ◽  
52Nd Street

Thelonious Monk was an American jazz pianist and composer. One of the earliest performers in the bebop movement of modern jazz dating from the mid-twentieth century, namely the 1940s in New York City, Monk performed original compositions in neighborhoods there such as Harlem and Greenwich Village, as well as the thriving 52nd Street district of jazz nightclubs. The pianist performed with other leading figures in modern jazz including bebop progenitors Charlie Parker and Dizzy Gillespie, and avant-garde saxophonist John Coltrane, all of whom performed and recorded Monk’s compositions. Monk’s compositions are some of the most commonly performed jazz standards today. Giddins and DeVeaux (2009) argue that Monk’s compositions are the second most frequently performed standards written by any one composer in jazz today, after those of pianist and big-band leader Duke Ellington.

To New York (for jazz orchestra and trumpet solo)

Callaloo ◽  
1990 ◽  
Vol 13 (1) ◽  
pp. 18
Author(s):  
Léopold S. Senghor ◽  
Melvin Dixon ◽  
Leopold S. Senghor
Keyword(s):  
New York ◽  
Jazz Orchestra

scholarly journals A new synonym from Hawaii and lectotypification of Plagiothecium longisetum (Plagiotheciaceae)

PhytoKeys ◽  
2020 ◽  
Vol 164 ◽  
pp. 21-31
Author(s):  
Grzegorz J. Wolski ◽  
Jarosław Proćków
Keyword(s):  
New York ◽  
Detailed Analysis ◽  
York Botanical ◽  
Botanical Garden ◽  
Original Material ◽  
Separate Species ◽  
New Synonym ◽  
New York Botanical Garden

Plagiothecium mauiense was first described in 1927 by V.F. Brotherus, based on materials from Hawaii. It has, so far been, treated as a separate species. A detailed analysis of the original material housed in the New York Botanical Garden Herbarium (NY01256708) found the specimen to be characterised by a lack of metallic lustre; concave, asymmetrical, lanceolate to lanceolate-ovate leaves, shrunken in their dry condition; a straight, not denticulate, acute to apiculate apex; elongate-hexagonal cells in irregular transverse rows, 101–131 × 15–21 µm at mid-leaf; very lax areolation, with decurrencies composed of three rows of cells. These characteristics indicate that this species is identical to the original material of P. longisetum (e.g. H-SOL 1563 011; PC0132572). Hence, we propose that P. mauiense should be recognised as a new synonym of P. longisetum. In addition, a review of P. longisetum syntypes found one (H-SOL 1563 011) to have the same date of collection as the protologue, and to possess a quite abundant gametophyte turf with well-preserved sporophytes, indicating it to be fertile. Considering the above, we propose that specimen H-SOL 1563 011 be designated the lectotype of P. longisetum.

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