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Journal Article
Journal of Music Theory (2019) 63 (1): 35–70.
Published: 01 April 2019
...Ben Geyer This study assesses twenty-five works by contemporary jazz composer Maria Schneider, tracking her compositional tendencies, identifying areas of continuity with the big-band arranging tradition, and capturing developments and idiosyncrasies apparent in her music. Schneider most often...
Journal Article
Journal of Music Theory (2011) 55 (1): 155–160.
Published: 01 April 2011
...Benjamin Givan Benjamin Givan is associate professor of music at Skidmore College. Larson Steve Analyzing Jazz: A Schenkerian Approach. Pendragon Press , 2009 : x +204 pp. ($99.00 paper) Benjamin Givan 2011 Works Cited Berry David Carson . 2004...
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
... displaced temporally—and general patterns of motivic development and metric manipulation. Balanchine's use of funky rhythms resonates with his characteristic on-top-of-the-beat step timing, offbeat visual accentuation, and jazz-dance-inspired movements, attesting to the adoption of both Africanist...
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Journal Article
Journal of Music Theory (2007) 51 (2): 333–340.
Published: 01 October 2007
..., No Chaser.' ” Journal of Music Theory 49 : 209 -39. Anderson, Fred and Paul Steinbeck. 2002 . Exercises for the Creative Musician . Chicago: Many Weathers Music. Block, Steven. 1990 . “Pitch-Class Transformation in Free Jazz.” Music Theory Spectrum 12 : 181 -202. ____. 1993 . “Organized...
Journal Article
Journal of Music Theory (2005) 49 (2): 333–357.
Published: 01 October 2005
.... ———. 1986 . “Interval Cycles in Stravinsky's Early Ballets.” Journal of the American Musicological Society 39 : 578 –614. Forte, Allen. 1995 . The American Popular Ballad of the Golden Era, 1924–1950 . Princeton, NJ: Princeton University Press. Gridley, Mark. 1994 . Jazz Styles: History...
Journal Article
Journal of Music Theory (2005) 49 (2): 241–275.
Published: 01 October 2005
...Steve Larson © 2008 by Yale University 2008 Folio, Cynthia. 1997–98 . “`The Great Symphonic Theme': Multiple Takes on `Stella's' Scheme.” Annual Review of Jazz Studies 9 : 3 –24 and 103. Forte, Allen. 1997–98 . “The Real `Stella' and the `Real' `Stella': A Response to `Alternate...
Journal Article
Journal of Music Theory (2005) 49 (2): 209–239.
Published: 01 October 2005
...Karim Al-Zand IMPROVISATION AS CONTINUALLY
JUGGLED PRIORITIES: JULIAN
“CANNONBALL” ADDERLEY’S
“STRAIGHT, NO CHASER”
Karim Al-Zand
When jazz musicians improvise, they engage in at least two interre-
lated thought processes. On one...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... of the American Musicological Society 57 : 285 –323. Gauldin, Robert. 2004 . “The Theory and Practice of Chromatic Wedge Progressions in Romantic Music.” Music Theory Spectrum 26 : 1 –22. Hentoff, Nat. 1960 . Liner notes for Art Blakey and the Jazz Messengers: The Big Beat . Hollywood, CA: Blue...
Journal Article
Journal of Music Theory (1999) 43 (2): 283–314.
Published: 01 October 1999
... . Philosophy in the Flesh: The Embodied Mind and its Challenge to Western Thought . New York: Basic Books. Larson, Steve. 1987a . Schenkerian Analysis of Modern Jazz . Ph.D. diss., University of Michigan. Larson, Steve. 1987b . Questions About the Ursatz: A Response to Neumeyer. In Theory Only 10...
Journal Article
Journal of Music Theory (2005) 49 (2): 277–299.
Published: 01 October 2005
...
It is often thought that improvisation defines jazz. But improvisation
on chorus forms is less common in the jazz of the early 1920s, which
often makes use of the sixteen-bar strain characteristic of the march. The
work of James P. Johnson,1 who is often called the father of stride piano,
provides...
Journal Article
Journal of Music Theory (2018) 62 (2): 249–278.
Published: 01 October 2018
... . Braxton Anthony . 1968 . Three Compositions of New Jazz . Delmark DS-415, 331⁄3 rpm . Braxton Anthony . 1978a . For Four Orchestras . Arista A3L-8900, 331⁄3 rpm . Braxton Anthony . 1978b . For Trio . Arista AB-4181, 331⁄3 rpm . Braxton Anthony . 1978c . Liner notes...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
... by
an ascending minor third (bracketed in Example 1b). These last progres-
sions are nonfunctional, and represent part of a general trend toward
increasing use of nonfunctional progressions in jazz at that time. As
another example, the opening progression of “Litha” consists of chro-
matic third relationships...
Journal Article
Journal of Music Theory (2015) 59 (2): 321–332.
Published: 01 October 2015
... . ———. 2010 . “Participatory Discrepancies and the Perception of Beats in Jazz.” Music Perception 27 / 3 : 157 – 75 . Fatone Gina Clayton Martin Leante Laura Rahaim Matt . 2011 . “Imagery, Melody, and Gesture in Cross-Cultural Perspective.” In New Perspectives on Music...
Journal Article
Journal of Music Theory (2005) 49 (2): 361.
Published: 01 October 2005
... Larson is Robert M. Trotter Professor of Music at the University of Oregon
and a member of its Institute of Cognitive and Decision Sciences. His book Ana-
lyzing Jazz—A Schenkerian Perspective will be published by Pendragon Press.
Henry Martin is Professor of Music at Rutgers University–Newark...
Journal Article
Journal of Music Theory (2018) 62 (1): 1–39.
Published: 01 April 2018
... of Transformation .” Music Theory Spectrum 37 / 1 : 98 – 119 . Capuzzo Guy . 2004 . “ Neo-Riemannian Theory and the Analysis of Pop-Rock Music .” Music Theory Spectrum 26 / 2 : 177 – 99 . Capuzzo Guy . 2006 . “ Pat Martino’s The Nature of the Guitar: An Intersection of Jazz Theory...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... Report No. 67. Indiana University: Center for Research on Concepts and Cognition. Lerdahl, Fred. 2001 . Tonal Pitch Space . New York: Oxford University Press. Levine, Mark. 1989 . The Jazz Piano Book . Petaluma: Sher Music. Lewin, David. 1996 . “Cohn Functions.” Journal of Music Theory...
Journal Article
Journal of Music Theory (2000) 44 (1): 236–249.
Published: 01 April 2000
... different from the jobbing cocktail or jazz
pianist’s, and a gift from Schenker.
As already indicated, there is little to complain about in the book’s
presentation, and although errors can inevitably be spotted here and there
(“Rodgers and Hammerstein” for “Rodgers and Hart” on p. 197 is an un...
Journal Article
Journal of Music Theory (2022) 66 (2): 291–302.
Published: 01 October 2022
...-seventh tonics in jazz, e.g.) is a fruitful one mapped out quite swiftly. One envisages much potential for future analytic exploration of these tonal categories. Harrison's schematic mapping (fig. 4.12, p. 116) of potential coloring agents (added sixths or sevenths, e.g.) within “amplified-tonic...
Journal Article
Journal of Music Theory (2001) 45 (2): 435–456.
Published: 01 October 2001
...—are designed for strings alone.
Leather, as the third of the primary material categories, is supple-
mented first of all by instruments of non-European origin. Congos and
bongos stem from South-American popular music, while tom-toms
reached Poland along with jazz, about which the young Penderecki...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... of the following chapter (43). Since dominant seventh chords are presumably the most common in this repertoire, and dim7 is sometimes used in jazz and rock charts, it would make more sense to use an unmarked “7” for dominant sevenths and to symbolizemajor and minor sevenths with “M” or “maj” and “m” or “min...
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