The creativity of local accordionists in the context of pop-jazz performance at the turn of the XX - XXI centuries

The purpose of the article. To highlight the peculiarities of the functioning of pop-jazz music in the bayan-accordion art of Ukraine in a certain period. The methodology is based on the basic principles of the theory of knowledge, such as objectivity, scientific character, historicism, integrity, interconnection, and interdependence of phenomena and processes of reality, as well as conceptual provisions of the theory of professional skills. The scientific novelty lies in the coverage of the creative activity of local button accordion players and the systematization of the stages of development and creative achievements of the academic school of the specified period. Conclusions. Pop-jazz music in the context of performing creativity of local and foreign bayan accordionists has a consistent character and develops on the musical basis of Negro folklore, urban culture (genres of everyday dance music - waltzes, polkas, tango, foxtrots, etc.), professional music - improvisations, concert transcriptions, retro suites for jazz themes, jazz-style suites, jazz-rock-partitas). The main factors that influenced the dynamics of the development of pop-jazz music in the bayan-accordion art of Ukraine and abroad were various artistic processes that took place during the period under study, determined by the evolution of quality indicators. Keywords: button accordion (accordion), accompanying instrument, solo performance, jazz compositions, composer technique, academization. .

From Columbia Studio B to Carnegie Hall: The Studio-to-Stage Creative Trajectory in the Fusion Jazz of Miles Davis

<p>This thesis proposes an interrelationship between the creative processes of the recording studio and the concert stage in the fusion jazz of Miles Davis. Recent scholarship highlights the importance of the recording studio to fusion jazz musicians as they developed unique approaches to composition and improvisation. While providing valuable insight into the studio-derived creative processes distinctive of fusion jazz, this scholarship inadvertently obscures some of the live performance practices of fusion jazz musicians. Turning attention towards live performance, yet without neglecting the insights of this recent scholarship, I consider how the creative processes forged by Davis in the recording studio manifested in his activities as a concert artist. Combining commentary on Davis’s formative fusion jazz studio recordings (produced between 1969 and 1972) with analyses of the live album Dark Magus (exemplary of his mid-1970s concert performances), this thesis suggests a reorientation in Davis’s conceptions of improvisation and composition during this period by highlighting some of the creative processes he engaged in, both in the recording studio and on the concert stage. Drawing on the accounts of several musicians who worked with Davis in the recording studio during the late-1960s and early-1970s, I consider how post production tape editing allowed Davis and his band a new means for composing and improvising in the studio. Then, to demonstrate what I have termed a studio-to-stage creative trajectory, I analyse two creative processes common to Davis’s mid-1970s concerts as evidenced in Dark Magus: Davis’s on-stage direction of sudden, rhythm section cuts in the midst of lead instrumentalists’ improvisations; and the featured use of two accompanimental instruments unusual to jazz performance—a YC45 electric organ (played by Davis ) and a drum machine (played by percussionist James Mtume). Finally, framing this studio-to-stage creative trajectory in terms of performance theorist Philip Auslander’s concept of liveness, I claim that Davis’s fusion jazz stands as an example of mediatization rich in human agency. I then suggest that the work of other fusion jazz musicians and musicians associated with other jazz styles could be usefully reappraised using a similar methodology that explores the role of record production in creative process</p>

From Columbia Studio B to Carnegie Hall: The Studio-to-Stage Creative Trajectory in the Fusion Jazz of Miles Davis

<p>This thesis proposes an interrelationship between the creative processes of the recording studio and the concert stage in the fusion jazz of Miles Davis. Recent scholarship highlights the importance of the recording studio to fusion jazz musicians as they developed unique approaches to composition and improvisation. While providing valuable insight into the studio-derived creative processes distinctive of fusion jazz, this scholarship inadvertently obscures some of the live performance practices of fusion jazz musicians. Turning attention towards live performance, yet without neglecting the insights of this recent scholarship, I consider how the creative processes forged by Davis in the recording studio manifested in his activities as a concert artist. Combining commentary on Davis’s formative fusion jazz studio recordings (produced between 1969 and 1972) with analyses of the live album Dark Magus (exemplary of his mid-1970s concert performances), this thesis suggests a reorientation in Davis’s conceptions of improvisation and composition during this period by highlighting some of the creative processes he engaged in, both in the recording studio and on the concert stage. Drawing on the accounts of several musicians who worked with Davis in the recording studio during the late-1960s and early-1970s, I consider how post production tape editing allowed Davis and his band a new means for composing and improvising in the studio. Then, to demonstrate what I have termed a studio-to-stage creative trajectory, I analyse two creative processes common to Davis’s mid-1970s concerts as evidenced in Dark Magus: Davis’s on-stage direction of sudden, rhythm section cuts in the midst of lead instrumentalists’ improvisations; and the featured use of two accompanimental instruments unusual to jazz performance—a YC45 electric organ (played by Davis ) and a drum machine (played by percussionist James Mtume). Finally, framing this studio-to-stage creative trajectory in terms of performance theorist Philip Auslander’s concept of liveness, I claim that Davis’s fusion jazz stands as an example of mediatization rich in human agency. I then suggest that the work of other fusion jazz musicians and musicians associated with other jazz styles could be usefully reappraised using a similar methodology that explores the role of record production in creative process</p>

Artists in Residence

Mixing criticism and memoir, “Artists in Residence” offers a rumination on improvisation and collaboration in visual art-making and contemporary jazz performance. The author meditates on the 2017 Unite the Right rally and Ryan Kelly's award-winning photographs of the event and considers how artists offer models for resisting anti-Black racism and white supremacy through collaborative practices. The author analyzes the documentary films Looks of a Lot and RFK in the Land of Apartheid and reviews exhibitions by Roy DeCarava and Jason Moran, highlighting the points of intersection between jazz musicianship and visual artistry. Finally, the essay argues that artists like Kara Walker, William Kentridge, and Yusef Komunyakaa create works that express the pleasure and pain of Black Diasporic experience through practices such as blues idiom improvisation and collage. The author presents criticism as a mode of personal writing.

INTERACTION OF INTERPRETATION AND IMPROVISATION IN JAZZ VOCAL PERFORMANCE

The purpose of the article is to explore the various interpretations of the concepts of "improvisation" and "interpretation" encountered in modern science, to identify the most appropriate definitions of these concepts that reveal the specificity of jazz performance and determine the relationship of these two concepts. The methodology of the article is the researches of improvisation and interpretation of various orientations. First, a scientific approach is used, which characterizes this process as a creative method. The scientific works devoted directly to improvisation in jazz are also used, which contain analysis of the improvisations of well-known performers and exercises for teaching local techniques. The scientific novelty of the work is that the term "interpretation" is considered in a broader sense in interaction with improvisation, that is, not only as an interpretation of other people's musical ideas in performing activities but also as an interpretation of personal artistic intentions in the process of musicians' activity. Conclusions. The interaction of interpretation and improvisation is clearly traced, since interpretation is an aspect of musical practice that proceeds from the differences between the recorded music notation and the live performance of the work. Consequently, this process inherent element of unpredictability. The interrelation of the interpretation of the musical text and the mastery of the improvisatory demonstration of this text by the interpreter, which is determined by his individual qualities, is traced.

Collaborative learning experiences in the university jazz/creative music ensemble: Student perspectives on instructional communication

While the ensemble is a ubiquitous learning environment within jazz education, opportunities to learn through engagement in ensemble performances and industry-level recording opportunities are rare classroom environments tertiary jazz music institutions offer. This qualitative study examines jazz performance contexts within an Australian tertiary music course, exploring students’ learning experience spanning three diverse collaborative projects across nine months. Phenomenological analysis explores the instructional relationship outlining connection between the student and instruction, the subject matter that is taught, and the connection between the student and the teacher as master improviser. Findings outline substantive teacher crafting of learning, relationship building and learning experiences garnered from interpersonal learning relationships, and the application of content with pedagogy that aims to build a positive learning climate between improvising teachers and their students. The author contends that a phenomenological perspective can highlight this diversity and emphasize effective interpersonal strategies and ensemble pedagogies that enhance student learning and potentially enculturate richer and more sophisticated musicianship in students and their developing creative abilities.

High School Jazz Band Directors’ Efficacious Sources, Self-Efficacy for Teaching Strategies, and Pedagogical Behaviors

The purpose of this study was to examine relationships between high school jazz band directors’ efficacious sources, self-efficacy for teaching strategies, and pedagogical behaviors. Participants ( N = 264) completed the Jazz Band Director Self-Efficacy for Teaching Strategies Scale and responded to items about their formal and informal learning experiences, school characteristics, and demographics. Parental support was the best predictor of participants’ self-efficacy for jazz teaching strategies, followed by undergraduate participation in jazz performance and improvisation courses, school enrollment, and completing a doctorate or master’s degree. Participants with greater scores on self-efficacy for teaching strategies also indicted greater comfort for teaching various styles commonly performed by high school jazz bands and dedicated more class time to teaching improvisation and jazz theory. Jazz directors may improve their self-efficacy for teaching strategies by developing parental trust and engagement with the jazz program and seeking feedback from effective mentors when refining jazz teaching strategies.

Features of the development of a professional singing sound of pop-jazz performers in the process of teaching performance skills

The urgency of vocational training for pop-jazz musicians is substantiated. The aim of the study is to determine the necessary components in the work on professional sound production in the process of teaching pop-jazz vocal, as well as to demonstrate some ways to increase the effi-ciency of work on sound in the classroom. The issues of the development of a professional singing voice in the process of teaching pop-jazz performance are considered. The research methods in-cluded: study of special literature, analysis and generalization of research and pedagogical expe-rience of the work of leading specialists in the field of music education and performance. The high degree of influence of the level of professional training of performers-vocalists on the national musical culture is proved. Practical recommendations for work on singing sound production in the process of professional training of pop-jazz singers in modern music educational institutions are presented.