Part 2

General thoughts on the paper

The following paragraphs will reflect my thoughts on the research topic. As suggested in my last feedback, I will try to narrow the topic down further, and will come back to this page when some ideas emerge or something changes.

Before starting this project, it has to be mentioned, that I want to narrow my chosen topic down further to comparing the music theory and chord structures of sonata forms used by Mozart or Beethoven within the first movement of their piano sonatas with the music theory provided in Jazz music, during a specific time period. I am planning on comparing two pieces of music, one from each epoch to have a practical example of my research. (02.11.2023).

A wider question that came up with the statement above is, what defines a “jazzy” sound in music theory and practice (specifically on the piano). Ideally, I want to demonstrate the differences between Jazz piano music and Classical music, using two different pieces, one by Beethoven and another one by a Jazz pianist and composer. It would be great to look out for similarities within those two pieces, so it can be clearer to define the differences. For the Jazz part, I will probably focus on a Swing or Bebop style. (16.11.2023)

The pieces I will be focussing on are Beethovens 5th Sonata (1st movement) and the Jazz standard “Misty”by Erroll Garner. (06.02.2024)

Putting together all of the above, I could base the end result on a paper with a title (or something similar) as follows: The Harmonic Progressions and melodic lines in Classical music and Jazz: A piano perspective.

Project 1: Research Methods

Exercise 2.1. Understanding methodologies (1)

I think the research methods from the list that are most relevant form my project are the following:

  • Analytical research
  • Description

Analytical research mainly focusses on the question “why” something came to be. Critical thinking as well as an objective and organised overview over important facts seem to be of importance as well. It is often used to affirm or deny assumptions. Furthermore, it is important to look at and analyse different views of the same topic and use those to come to an objectively logical conclusion.

Another term I came across quite often researching this topic is “definition research”, which seems to be confused often with analytical research. In comparison to analytical research, definition papers don’t present a deep analysis, but are mainly used to show sorted and categorised data.

Furthermore, it is possible to use several recommendations for a conclusion.

  • Usage

For my project, I could use this form of research to gather some objectively written information about the music theory used and taught for the piano sonatas written between around 1750 and 1830. I could compare these with the music theory involved in Jazz music written between 1920 and 1970. (Payforwriting, no date)

  • Case-study research
  • Description

Case study research is mainly used for describing, comparing, evaluating an understanding (McCombes) different aspects of a topic. They seem to be an effective way of gaining more knowledge of a specific topic. Most case study researches use qualitative research methods, which involves analysing texts, videos or audios.

  • Usage

I think this form of research could be quite useful for the comparison of the two pieces as mentioned within General thoughts on the Projects. Nonetheless, I think it also slightly overlaps with the point mentioned above, where I’m planning to inform myself more about the music theory of two different epochs.

  • Historical research
  • Description

This form of research builds on a wider range of sources including primary and secondary ones. An example for a primary source would be some eyewitnesses, or public records, whilst secondary sources refer to encyclopaedias, newspapers and other media. As with the topics above, it will be necessary to check on the accuracy of the chosen source materials.

  • Usage

Even though I might not have access to eyewitnesses from the 18th century, I might be able to talk to some people who are actively performing classical music, as well as some people performing Jazz music (both on the piano). Furthermore, focussing more on secondary sources, I could make a deeper research about the music theory within those two epochs and compare them.

  • Practical based research
  • Description

The main aim for this research method, is to gain new knowledge or prove assumptions by participating in practical examples. As provided within the title, this form of research involves the person researching (me, in this case) to actively explore and do things and comment on them in order to create and build the research project. (Candy, 2006)

  • Usage

As I’m a pianist myself, I think in terms of the music theory as well as the comparison between the two pieces (which have yet to be chosen) it seems quite suitable to be able to play those pieces myself and reflect on the structural and harmonic differences.

Exercise 2.1. Understandingmethodologies (2)

The second part of this exercise, was to find a few examples of the research methods mentioned above.

  • Analytical research

For the analytical research, I found a study by Patrice Madura Ward-Steinman, (2008) Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers: A Factor Analytic Study. This research is clearly structured, involving headings for each new aspect of the study as well as different approaches evolving around the same subject. The study starts with a research and even used some participants to help underline the statement from the beginning. At the end of the study, the outcomes of the results of the test is being discussed.

For the other research methods, it was a bit more difficult to find anything in particular, where it was easy to determine, that the research used this specific method. Nonetheless, having read through several different papers I can say, that I definitely found some small parts where different research methods were used and with the first part of this project I was able to roughly categorize them.

Project 2: Theoretical Frameworks

Exercise 2.2. Theoretical Frameworks

The first study I looked into was A Comprehensive Analysis of Jazz Elements in Nikolai Kapustin’s Violin Sonata Opus 70 and String Quartet Number 1, Opus 88, written by Ching-Hsuan Wang in 2019. Here several theories lead to a conclusion at the end, one of them being that the composer created a unique sound by combining jazz harmonies with classical forms.

This theory is based on several different statements from other sources. It nonetheless also leaves the question open what defined “Jazz harmonies” are and how they differ from Classical harmonies.

In a research about a specific classical frame (Preludes and fugues) interpreted by Kapustin it is stated, that, from a historical aspect, George Gershwin was probably one of the first composers to add Jazz elements to classical compositions. Nonetheless, the terms are kept apart with the justification, that Jazz music should involve some form of improvisation, which is not the case in Kapustin’s music. (Daugulis, 2019)

This underlines the theory, that Kapustin seemingly created a middle path by “writing out” the improvisations directly.

Another analytical research study written in 1997 by Monika Herzig, Elements of Jazz Piano Pedagogy, suggests, that Jazz, in contrast to classical piano music, should be taught more in a form of a “human expression” instead of scales and patterns, as Jazz music is played more intuitively.

As I did some further research about the teaching methods of Jazz music I came across the thesis Teaching and learning jazz music improvisation: an investigation of approaches using Q methodology, by Sherrill Elaine Rutherford, written in 2014. Using several Jazz musicians as participants, she evaluated the most common techniques to teach Jazz music, specifically focussing on improvisation.

Overall, the study revealed, that it comes down to knowing the technical abilities of the instrument but also being able to play by ear, a skill that can be trained at any age but works more efficiently on musicians who are just starting to play. The focus and reliability on scores seems to develop and leave less room for improvisation. There also has to be a certain amount of taking a “risk” and understanding the underlying harmonies and rhythmical features of the corresponding jazz style.  (Rutherford, 2014)

Exercise 2.3. Identifying Keywords

Prior to this exercise, I moved back to the beginning of this course part to General thoughts on the paper to narrow down my topic.

After creating a mindmap I came up with the following terms/topics.

  • Performance settings:
    • Concert Settings, focus on interpreting the composer’s intentions with presicion
    • Jazz piano settings more often in clubs, festivals or on Jam Sessions, more emphasis on spontaneous interactions
  • Playing techniques:
    • Classical: Precise finger placement/posture/Discipline
    • Jazz: also Technical proficiency, but more freedom for interpretation
    • Jazz: Experimenting with chords and voicings
    • Rhythm/Phrasing: mostly straight vs. swinging feel/ syncopation
  • Harmony and Music Theory:
    • Differences in Harmonic Progressions/Melodic lines
    • Classical: often bound to traditional tonal systems
    • Jazz: extended chords/alternated harmonies/more room for harmonic exploration and improvisation
  • Notation vs Leadsheet
    • Classical: Specific instructions for dynamics and articulation
    • Jazz: Basic framework of melody and chords on leadsheet

Potential keywords would be the following (in order of importance)

  • Harmonic progressions
  • Chord voicings
  • Extended chords
  • Rhythmical phrasing
  • Playing techniques
  • Harmonic exploration
  • Improvisation
  • Alternated harmonies
  • Interpretation
  • Articulation

Using the Keywords:

Going through my keywords, I tried to find a few papers, which fit to my main subject, I wasn’t able to find works for every keyword, but by reading through some of them, I was able to narrow down my chosen subject further.

  • Harmonic Progressions

Broze, Y. and Shanahan, D. (2012) A diachronic Analysis of Harmonic Schemata in Jazz. School of Music. Ohio State University. Available at: https://www.researchgate.net/profile/Daniel-Shanahan-3/publication/307981744_A_Diachronic_Analysis_of_Harmonic_Schemata_in_Jazz/links/57d75f4a08ae5f03b494e575/A-Diachronic-Analysis-of-Harmonic-Schemata-in-Jazz.pdf

Caplin, W. (2013). Analysing Classical Form – An approach for the Classroom. Oxford University Press. Available at: https://books.google.at/books?hl=de&lr=&id=ech8AQAAQBAJ&oi=fnd&pg=PP1&dq=harmonic+progressions+classical+music&ots=PHlycXt_vQ&sig=_uW1QR4gpJ9jvudSnAm9EzybFBQ&redir_esc=y#v=onepage&q=harmonic%20progressions%20classical%20music&f=false

  • Chord voicings

McGowan, J. (2011).Psychoacoustic Foundations Of Contextual Harmonic Stability In Jazz Piano Voicings. Journal of Jazz Stdies, vol. 7, no 2, pp. 156 – 191. Available at: file:///C:/Users/Diana/Downloads/pkpadmin,+McGowanFinal.pdf

Richards, M. (2011). Analysing Tension and Drama in Beethoven’s First –Movement Sonata Forms. Graduate Department of Music. University of Toronto. Available at: file:///C:/Users/Diana/Downloads/Richards_Mark_C_201106_PhD_thesis.pdf

  • Extended Chords

Latarski, D. (1990). An introduction to Chord Theory. Alfred Publishng Co., Inc. Available at: https://books.google.at/books?id=TS3du-jpFXEC&printsec=frontcover&hl=de&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

  • Rhythmical Phrasing

Ng,S.(2012).Phrase Rhythm as Form in Classical Instrumental Music. Music Theory Spectrum, Volume 34, Issue 1, pp. 51 – 77. Available at: https://academic.oup.com/mts/article-abstract/34/1/51/1053703

Belfiglio, A. (2008). Fundamental rhythmic characteristics of improvised straight -ahead jazz. The University of Texas at Austin. Available at: https://www.proquest.com/openview/1aadfbfa664cf54b2638931415fd6e3f/1?pq-origsite=gscholar&cbl=18750

  • Playing Techniques

Zhu, Y. (2017). Study on the Evolution of Piano Playing Techniques. University of Sanya, Hainan. Atlantis Press. Available at: https://www.atlantis-press.com/proceedings/ssehr-17/25891606

Marx, A. (1895). Introduction to the Interpretation of Beethoven Piano Works. Clayton F. Summy Co. Available at: https://books.google.at/books?hl=de&lr=&id=H0Y95vFyLUIC&oi=fnd&pg=PA11&dq=piano+playing+techniques+beethoven&ots=pGKKcjJ3xU&sig=bzomZMZkhQZKENi2en9eAxfMrEg&redir_esc=y#v=onepage&q=piano%20playing%20techniques%20beethoven&f=false

Vial, A. (2023). Strategies and Techniques for multiple-voice Jazz piano improvisation. McGill University, Montréal. Available at: https://escholarship.mcgill.ca/concern/papers/fx719s56b

  • Harmonic Exploration

/

  • Improvisation

Shane, N. (2013). Speaking Classical Music: An Argument for Improvisation in Classical Music Education. Weseyan University. Available at: https://citeseerx.ist.psu.edu/document?repid=rep1&type=pdf&doi=f6c964586cc592b11fa6f33d9f1797fc85b6dee3

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. Available at: https://www.researchgate.net/profile/Andrea-Sangiorgio/publication/370584223_Creative_interactions_Creative_learning_creative_teaching_and_teaching_for_group_creativity_in_music_education/links/645764a297449a0e1a8107a7/Creative-interactions-Creative-learning-creative-teaching-and-teaching-for-group-creativity-in-music-education.pdf#page=82

Mermikides, M. and Feygelson, E. (2017) Music and Shape –  The shape of music improvisation. Oxford University Press, pp. 170 – 179. Available at: https://books.google.at/books?hl=de&lr=&id=ecQ9DwAAQBAJ&oi=fnd&pg=PP1&dq=music+and+shape&ots=zYJGBFSHdS&sig=Iwh_gCFpOnrz12Nl0WFnAAIZ3ow&redir_esc=y#v=onepage&q=music%20and%20shape&f=false

  • Alternated Harmonies

Rohrmeier, M. (2020). The Syntax of Jazz Harmony: Diatonic Tonality, Phrase Structure, and Form. Leuven Unversity Press. Available at: https://www.ingentaconnect.com/content/leuven/mta/2020/00000007/00000001/art00001

Rohm, J. (1974) Jazz Harmony: Structure, Voicing, and Progression. The Florida State University. Available at: https://www.proquest.com/openview/9645d8baecb8223100f608b0950a5784/1.pdf?pq-origsite=gscholar&cbl=18750&diss=y

Corral. À; Serrá. J and Serra-Peralta, M. (2021). Heaps’ law and vocabulary richness in the history of classical music. EPJ data science, 2021, Vol.10 (1), pp.1-17, Article 40. Available at: https://library-search.open.ac.uk/discovery/fulldisplay?docid=cdi_doaj_primary_oai_doaj_org_article_58297e8c4a254ba2b663361106ab7a40&context=PC&vid=44OPN_INST:VU1&lang=en&search_scope=MyInst_and_CI&adaptor=Primo%20Central&tab=Everything&query=any,contains,classical%20music%20harmonies&offset=0

  • Interpretation

/

  • Articulation

Palmer,C.(1986). Methods of articulation in piano performance. The Journal of the Acoustical Society of America. Availble at: https://pubs.aip.org/asa/jasa/article/79/S1/S75/735260