Sex-Specific Brain Responses to Imaginary Dance but Not Physical Dance: An Electroencephalography Study of Functional Connectivity and Electrical Brain Activity

To date, most neurophysiological dance research has been conducted exclusively with female participants in observational studies (i.e., participants observe or imagine a dance choreography). In this regard, the sex-specific acute neurophysiological effect of physically executed dance can be considered a widely unexplored field of research. This study examines the acute impact of a modern jazz dance choreography on brain activity and functional connectivity using electroencephalography (EEG). In a within-subject design, 11 female and 11 male participants were examined under four test conditions: physically dancing the choreography with and without music and imagining the choreography with and without music. Prior to the EEG measurements, the participants acquired the choreography over 3 weeks with one session per week. Subsequently, the participants conducted all four test conditions in a randomized order on a single day, with the EEG measurements taken before and after each condition. Differences between the male and female participants were established in brain activity and functional connectivity analyses under the condition of imagined dance without music. No statistical differences between sexes were found in the other three conditions (physically executed dance with and without music as well as imagined dance with music). Physically dancing and music seem to have sex-independent effects on the human brain. However, thinking of dance without music seems to be rather sex-specific. The results point to a promising approach to decipher sex-specific differences in the use of dance or music. This approach could further be used to achieve a more group-specific or even more individualized and situationally adapted use of dance interventions, e.g., in the context of sports, physical education, or therapy. The extent to which the identified differences are due to culturally specific attitudes in the sex-specific contact with dance and music needs to be clarified in future research.

A Study of Long-Form Works for the Jazz Ensemble

<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>

A Study of Long-Form Works for the Jazz Ensemble

<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>

Composing the Chimera Suite: Grafting the Conventions of Extreme Metal onto a Jazz Orchestra Setting

<p>The Chimera Suite is a five-movement composition for a modern jazz orchestra augmented with timbres derived from extreme metal. Each movement explores how conventions located in extreme metal can be combined with modern jazz orchestra conventions to create a unique multi-movement suite. While each movement is composed discretely and can stand on its own, the Chimera Suite is intended to be experienced in one continuous sitting, as local and global through-composed forms are used to create thematic unity across the entire suite. Chapter 1 examines the global scenes of jazz and extreme metal, as well as the local Wellington jazz scene through Fabian Holt’s popular genre framework of ‘networks’ and ‘conventions’, and identifies the musical aesthetics that I drew from during the Chimera Suite’s compositional process. In Chapter 2, I analyse extreme metal band Between the Buried and Me’s ‘Silent Flight Parliament’ off their album The Parallax II: Future Sequence, jazz pianist Tigran Hamasyan’s ‘The Grid’ and ‘Out of The Grid’, and jazz drummer Dan Weiss’ ‘Annica’. Each of the artists’ works exhibits various musical conventions located in both jazz and extreme metal genres that I observe via the lenses of through-composed form, heaviness, and the dialectic of freedom and control. I analyse my own composition, the Chimera Suite, through the same lenses of through-composed form, heaviness, and the dialectic of freedom and control in Chapter 3, while discussing the ways in which the musical scenes identified in Chapter 1, and the musical inspirations found in Chapter 2, have impact the suite’s conception. Throughout this thesis, I discuss the unique perspectives afforded through this combination of genres that in turn, call into question the defining elements that contribute towards a genre’s identity.</p>

Composing the Chimera Suite: Grafting the Conventions of Extreme Metal onto a Jazz Orchestra Setting

<p>The Chimera Suite is a five-movement composition for a modern jazz orchestra augmented with timbres derived from extreme metal. Each movement explores how conventions located in extreme metal can be combined with modern jazz orchestra conventions to create a unique multi-movement suite. While each movement is composed discretely and can stand on its own, the Chimera Suite is intended to be experienced in one continuous sitting, as local and global through-composed forms are used to create thematic unity across the entire suite. Chapter 1 examines the global scenes of jazz and extreme metal, as well as the local Wellington jazz scene through Fabian Holt’s popular genre framework of ‘networks’ and ‘conventions’, and identifies the musical aesthetics that I drew from during the Chimera Suite’s compositional process. In Chapter 2, I analyse extreme metal band Between the Buried and Me’s ‘Silent Flight Parliament’ off their album The Parallax II: Future Sequence, jazz pianist Tigran Hamasyan’s ‘The Grid’ and ‘Out of The Grid’, and jazz drummer Dan Weiss’ ‘Annica’. Each of the artists’ works exhibits various musical conventions located in both jazz and extreme metal genres that I observe via the lenses of through-composed form, heaviness, and the dialectic of freedom and control. I analyse my own composition, the Chimera Suite, through the same lenses of through-composed form, heaviness, and the dialectic of freedom and control in Chapter 3, while discussing the ways in which the musical scenes identified in Chapter 1, and the musical inspirations found in Chapter 2, have impact the suite’s conception. Throughout this thesis, I discuss the unique perspectives afforded through this combination of genres that in turn, call into question the defining elements that contribute towards a genre’s identity.</p>

The Effect of Outside Genres on Techniques and Devices in Modern Jazz Composition (1988-2008)

<p>This is a study involving research, analysis and performance of music composed by jazz artists in the last twenty years. The focus of this discussion will be on the influence of several outside genres on the music of these jazz composers. In particular it will examine transcriptions of works by composers including Dave Holland, John Scofield, Hiromi Uehara, Nils Wogram, Christian McBride, Bill Frisell, Kenny Garrett and Pat Metheny. The analysis of these transcriptions will examine the devices the composers have used such as counterpoint, harmony, rhythm, instrumentation, melody, time signatures, form et al. and assess how any outside genres may have affected these devices. Furthermore the analysed compositions will be performed in a recital setting, as well as a portfolio of compositions written by myself using the techniques gathered from my analysis.</p>

The Effect of Outside Genres on Techniques and Devices in Modern Jazz Composition (1988-2008)

<p>This is a study involving research, analysis and performance of music composed by jazz artists in the last twenty years. The focus of this discussion will be on the influence of several outside genres on the music of these jazz composers. In particular it will examine transcriptions of works by composers including Dave Holland, John Scofield, Hiromi Uehara, Nils Wogram, Christian McBride, Bill Frisell, Kenny Garrett and Pat Metheny. The analysis of these transcriptions will examine the devices the composers have used such as counterpoint, harmony, rhythm, instrumentation, melody, time signatures, form et al. and assess how any outside genres may have affected these devices. Furthermore the analysed compositions will be performed in a recital setting, as well as a portfolio of compositions written by myself using the techniques gathered from my analysis.</p>

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

<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>

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

<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>

ЕВОЛЮЦІЙНІ ПРОЦЕСИ В КОНТЕКСТІ ДЖАЗОВОЇ МУЗИЧНОЇ КУЛЬТУРИ США 40-Х РОКІВ ХХ СТОЛІТТЯ: КУЛЬТУРОЛОГІЧНИЙ АСПЕКТ

Мета статті — виявити та дослідити характерні особливості джазової музичної культури США 40-х рр. ХХ ст. в культурологічному аспекті. Методологія дослідження передбачає використання методу системного аналізу. Крім того, застосовано методи узагальнення та порівняння. Наукова новизна. В статті вперше в українській культурології висвітлене питання еволюційних процесів в джазовій музичній культурі США 40-х рр. ХХ ст. Висновки. Унаслідок проведеного дослідження виявлені трансформаційні процеси, що відбулися в контексті джазової музичної культури США 40-х рр. ХХ ст. Зауважено, що саме в цей хронологічний проміжок були закладені провідні тенденції ери сучасної джазової культури. Причини вказаних еволюційних зрушень знаходяться в галузі соціології та психології. Провідну позицію займає процес самоактуалізації, причини специфічного протікання якого знаходяться серед соціального буття афроамериканської спільноти вказаного періоду. Особливості процесу самоактуалізації призвели до змін традицій джазового виконавства: кристалізації сольної імпровізації, значного зменшення учасників ансамблю, переосмислення функції ритм-секції, трансформації сценічного образу джазмену, що склало провідну концепцію виконавства ери Modern Jazz. Зазначено, що підсилювальним чинником кристалізації особливостей процесу самоактуалізації в межах психологічного портрета афроамериканського індивіда 40-х рр. на території США став феномен креативності, який в джазовій культурі завжди займав домінуючу позицію. В цей період також відбулося закладення фундаменту світової професійної джазової освіти, що стало традиційним для ери сучасної джазової культури. Встановлено, що окреслені аспекти стали причиною зміщення джазової музичної культури з масової до простору культури елітарної, в якому світова джазова музична культура знаходиться і сьогодні.