Prior to this Assignment, it has to be mentioned, that I might stumble upon some further papers and articles that might contribute towards my research, and even though I won’t be able to upload them for the Assignment, I will update my blog (https://dianaslearninglog.com/major-project-and-contextual-studies/ ) regularly, in case I find any other research sources that I want to use.. For this Assignment, I took a further look at the list from the last exercise, and added the sources that seemed relevant for my research.
- Belfiglio, A. (2008). Fundamental rhythmic characteristics of improvised straight -ahead jazz. The University of Texas at Austin.
In this paper, the author investigates the rhythmical jazz phrasing “swing”. Transcriptions of improvised passages from jazz recordings provide examples for the study. Within several different studies the meaning of the term “swing”, it’s characteristics, rhythmic techniques and the relation between them are examined. Before the analysis of the transcriptions, the foundation and perception of “swing” music is determined, starting with African rhythm culture and taking a closer look at the rhythmical subdivision and beat placement of swing later on.
- Broze, Y. and Shanahan, D. (2012) A diachronic Analysis of Harmonic Schemata in Jazz. School of Music. Ohio State University.
In this Study, the authors examine common chord progressions used in Jazz music and investigate, how they evolved over time. An electronic database was created to analyse the evolution of harmonic progressions appearing in jazz standards between 1925 and 1970. Commonly used chord progressions, such as “ii – V – I” and their popularity as well as the involvement of modal jazz are included. In addition, the authors also look into the evolution of rhythm changes and their role in jazz music. They conclude, that the usage tonal harmonic syntax decreased over the given period of time.
- Caplin, W. (2013). Analysing Classical Form – An approach for the Classroom. Oxford University Press, pp. 1 – 27
The authors use and analyse the harmonic progressions and their functions using the foundations of Western Classical Music, focussing on the “Classical” time period of Haydn, Mozart and Beethoven. The chapter covers the foundations of harmonic rules, such as the use of tonic, dominant and pre – dominant chords, and in which order they serve a certain function. Nonetheless, they also take a closer look at other chord progressions used repetitively within the “Classica” period.
- Latarski, D. (1990). An introduction to Chord Theory. Alfred Publishng Co., Inc.
The author’s intent is to show how chords are structured built and used, within the context of western Pop/Rock and Blues music. He starts by describing intervals and their use for building chords consisting of 3 or more notes. Moving on to triads and larger chord structures are described and examined in more detail. Lastly, he also looks at the usage of chord functions, possible alterations and chord substitution.
- Marx, A. (1895). Introduction to the Interpretation of Beethoven Piano Works. Clayton F. Summy Co.
Within this book, the author tries to analyse and describe the underlying musical features of Beethoven’s piano works, especially focussing on the expression of his music, by comparing them to others created during the same era. The book’s intention, is to create a good sense of Beethoven’s works for better performances on the piano, it doesn’t only focus on the music, but also the art of interpretation and also directly addresses the musicians interpreting the music. It is stated, that Beethoven’s unique expressionistic way of writing, is in the need of a very specific interpretation guide, which the book is trying to achieve, by taking a close look at Beethoven’s piano sonatas.
- McGowan, J. (2011). Psychoacoustic Foundations Of Contextual Harmonic Stability In Jazz Piano Voicings. Journal of Jazz Studies, vol. 7, no 2, pp. 156 – 191
In this study, the researcher analysed the use of harmonic functions and options of improvising “tonal” jazz pianists in terms of structural stability of the chords. A “harmonic dialects” model is presented, accounting for alternatives of the functions of different chords and chord progressions. Further, he takes the theory of he examines the interpretation and conception of “stable” and “unstable” sounding chords taking jazz theory and the history of Western musical theory in consideration.
- Müller, A. (2023). Creative Interactions – Creative Learning, Creative Teaching and Teaching for Group Creativity in Music Education. Is there any Freedom in Performance? On the decline of improvisation in Classical instrumental performance and teaching. University of Music and Theatre Munich, pp. 69 – 78
In this work, the author tries to find the grade of individuality performers can express with composed music. It is explained, that performers were mainly known to be playing their own music, and only a few works of other composers, therefore, the line between improvisation and composition was historically not as clearly defined as it is today. As piano works got progressively more difficult to play, performers had to start focussing on the technical challenges of the piece, instead of improvising. The article also makes a comparison about the audience from different time eras, and how the demand towards technical detail instead of improvised musical parts increased.
- Ng,S.(2012).Phrase Rhythm as Form in Classical Instrumental Music. Music Theory Spectrum, Volume 34, Issue 1, pp. 51 – 77.
Within this essay the author discusses that the essence of tonal form is not mainly based on harmony, but rhythm. Using different analytical methods, it is demonstrated, how phrase rhythm can also create standardised musical phrases and that the rhythm and meter of a piece have a vast impact on how listeners understand the tonal form. With a few practical music examples, mostly of western classical music, it is demonstrated on which occasions down beats and upbeats are used, and how a certain “rhythmical structure” can be found within different pieces.
- Richards, M. (2011). Analysing Tension and Drama in Beethoven’s First –Movement Sonata Forms. Graduate Department of Music. University of Toronto. pp.
This study explores dramatic and non-dramatic parts in Beethoven’s First Movement Sonata Forms. “Drama” in this case is referred to a way of harmonic progression and interaction that results in high levels of musical tension. The author divides the term into “rhetorical” and “syntactical” tension and gives examples for several combinations to create harmonic tension. In the second part of the study, Richards, applies the demonstrated analytical methods of creating tension in music and applies them to some of Beethoven’s work.
- Rohm, J. (1974) Jazz Harmony: Structure, Voicing, and Progression. The Florida State University.
In this article, the author looks at the harmonic basis for improvisation and the general harmonic features underlying Jazz music. These elements are structured into chord structure, chord voicing and chord progression. In the first part, the author examines six harmonic structures often used in Jazz music, and look at chord extensions, polychord combinations. The second part evolves around different ways of voicing the harmonies, accompaniment and solo parts, discussed in the first part. Within the last part, the author demonstrates the in Jazz most commonly used chord progressions. For demonstration, selected piano literature is presented to underline the given arguments from the study.
- Rohrmeier, M. (2020). The Syntax of Jazz Harmony: Diatonic Tonality, Phrase Structure, and Form. Leuven Unversity Press.
This article examines the structure of Jazz chord sequences, underlying harmonies, and also looks at the psychological side of Jazz linking the maths of music theory with the perception of music. It demonstrates a few syntactic based analyses examining harmonic phenomena. Within the second part it examines how Musical Form and phrase structures in Jazz are created. Furthermore, the author tries to explain terms used in Jazz music, such as the different chord symbols, commonly used chord sequences and the different possibilities of creating and realize a chord on different instruments.
- Shane, N. (2013). Speaking Classical Music: An Argument for Improvisation in Classical Music Education. Weseyan University
The author of this thesis starts with a more historical view towards improvisation, starting with teaching methods in the Baroque era. A comparison between the teaching methods of different time periods is made, also examining in which period improvisation was used more frequently. Moving on towards a more modern approach to improvisation, teaching methods which are supposed to help students with their musical self – expression are presented and how the musician “connects” to the instrument while playing. The thesis concludes, that the instrumentalists learning improvisation generally have a more open approach towards their instrument, and the understanding of musical performance in general.
- Vial, A. (2023). Strategies and Techniques for multiple-voice Jazz piano improvisation. McGill University, Montréal.
This thesis/method book demonstrates several piano playing techniques for Jazz pianists to explore the art of improvisation with several voices at the same time. It analyses and explains playing techniques from several different cultures and their historical background. For practical examples, transcriptions, practice exercises and harmonisation concepts are being analysed. The author starts by having a closer look at the “right” mind-set and approach towards practicing itself, moving on towards specific methods of learning improvisation. He comes to the conclusion, that the art of improvisation, consists of a combination of small musical blocks, which can be increased and refined over time through regular practice on the piano.
- Zhu, Y. (2017). Study on the Evolution of Piano Playing Techniques. University of Sanya, Hainan. Atlantis Press
The author analyses the development of piano playing techniques as well as the history of teaching them, focussing mostly on “Western Classical Music”. Explaining, that viewed historically, the piano was one of the most often used instruments to express music and therefore had a rapid development in terms of playing techniques, especially in the Classical and Romantic era, when people started playing in their own houses. Furthermore, the study looks at distinguishing piano playing techniques for each epoch since the Romantic era, and how those different techniques influenced one another.
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