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Description
This thesis examines the jazz jam session’s function in the constitution of jazz scenes as
well as the identities of the musicians who participate in them. By employing ritual and
performance studies theories of liminality, I demonstrate ways in which jazz musicians,
jam sessions, and other social structures are mobilized and transformed during their
social and musical interactions. I interview three prominent members of the jazz scene in
the greater Phoenix area, and incorporate my experience as a professional jazz musician
in the same scene, to conduct a contextually and socially embedded analysis in order to
draw broader conclusions about jam sessions in general. In this analysis I refer to other
ethnomusicologists who research improvisation, jazz in ritual context, and interactions,
such as Ingrid Monson, Samuel Floyd, Travis Jackson, and Paul Berliner, as well as ideas
proposed by phenomenologically adjacent thinkers such as Gilles Deleuze, Martin
Heidegger, Maurice Merleau-Ponty, and Karen Barad.
This thesis attempts to contribute to current jam session research in fields such as
ethnomusicology and jazz studies by offering a perspective on jam sessions based on
phenomenology and process philosophy, concluding that the jam session is an essential
mechanism in the ongoing social and musical developments of jazz musicians and their
scene. I also attempt to continue and develop the discourse surrounding theories of
liminality in performance and ritual studies by underscoring the web of relations in social
structures that are brought into contact with one another during the liminal performances
of their acting agents.
well as the identities of the musicians who participate in them. By employing ritual and
performance studies theories of liminality, I demonstrate ways in which jazz musicians,
jam sessions, and other social structures are mobilized and transformed during their
social and musical interactions. I interview three prominent members of the jazz scene in
the greater Phoenix area, and incorporate my experience as a professional jazz musician
in the same scene, to conduct a contextually and socially embedded analysis in order to
draw broader conclusions about jam sessions in general. In this analysis I refer to other
ethnomusicologists who research improvisation, jazz in ritual context, and interactions,
such as Ingrid Monson, Samuel Floyd, Travis Jackson, and Paul Berliner, as well as ideas
proposed by phenomenologically adjacent thinkers such as Gilles Deleuze, Martin
Heidegger, Maurice Merleau-Ponty, and Karen Barad.
This thesis attempts to contribute to current jam session research in fields such as
ethnomusicology and jazz studies by offering a perspective on jam sessions based on
phenomenology and process philosophy, concluding that the jam session is an essential
mechanism in the ongoing social and musical developments of jazz musicians and their
scene. I also attempt to continue and develop the discourse surrounding theories of
liminality in performance and ritual studies by underscoring the web of relations in social
structures that are brought into contact with one another during the liminal performances
of their acting agents.
ContributorsLebert, Raymond Russell (Author) / Wells, Christopher J. (Thesis advisor) / Stover, Christopher (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2019
Description
Abstract
Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts by Georg Michael Telemann based on his corrections to the autograph score. There are currently at least seven editions of this work readily available, none of which fully agrees with the autograph manuscript or original parts. The editions also differ substantially from one another: for example, two of them are in a different key from the others. This clearly points to the need for a new edition.
Further, the additions and corrections by Georg Michael Telemann are interesting. These fall into several categories: changes made to correct errors or clarify ambiguities in Georg Philipp Telemann’s original, changes made to reflect performance practice that Georg Philipp might have assumed but that were no longer customary in Georg Michael’s time, adjustments to melody and rhythm that may reflect Georg Michael’s personal taste and preference, and the addition of parts for oboe and viola, along with significant changes to the second violin part that suggest that Georg Michael’s version was intended for performance by a chorus and orchestra, whereas Georg Philipp’s original could be performed as a chamber work, with one singer and instrumentalist per part, or by a larger ensemble.
A discussion of the piece, along with scores of both the original version and Georg Michael’s version, provides both scholars and performers with greater insight into this brief but significant work.
Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts by Georg Michael Telemann based on his corrections to the autograph score. There are currently at least seven editions of this work readily available, none of which fully agrees with the autograph manuscript or original parts. The editions also differ substantially from one another: for example, two of them are in a different key from the others. This clearly points to the need for a new edition.
Further, the additions and corrections by Georg Michael Telemann are interesting. These fall into several categories: changes made to correct errors or clarify ambiguities in Georg Philipp Telemann’s original, changes made to reflect performance practice that Georg Philipp might have assumed but that were no longer customary in Georg Michael’s time, adjustments to melody and rhythm that may reflect Georg Michael’s personal taste and preference, and the addition of parts for oboe and viola, along with significant changes to the second violin part that suggest that Georg Michael’s version was intended for performance by a chorus and orchestra, whereas Georg Philipp’s original could be performed as a chamber work, with one singer and instrumentalist per part, or by a larger ensemble.
A discussion of the piece, along with scores of both the original version and Georg Michael’s version, provides both scholars and performers with greater insight into this brief but significant work.
ContributorsOh, Eunmi (Author) / Schildkret, David (Thesis advisor) / Evans, Bartlett (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2019
Description
This paper provides a comprehensive study of Italian liturgical organ works from the 15th to 17th centuries. This music was composed for the Catholic Mass, and it demonstrates the development of Italian keyboard style and the incorporation of new genres into the organ Mass, such as a Toccata before the Mass, music for the Offertory, and the Elevation Toccata. This often neglected corpus of music deserves greater scholarly attention.
The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation.
Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo.
This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists.
The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation.
Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo.
This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists.
ContributorsHolton Prouty, Kristin Michelle (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2015
Description
Department chairs or school directors, as the bridge between administration and faculty, and closely associated with the teaching and learning at the heart of the institution, hold very important roles in the departments or schools they oversee. Many chairs and department administrators in music schools and departments are selected from the faculty of the department and asked to serve as the chief administrator. They assume a set of duties that, to that point, have been beyond the purview of their academic training and professional experience--particularly for those with training in the performance disciplines. While usually successful as teachers, these new chairs and department heads face a difficult transition into administrative work because the skills required for an effective administrator are very different from those necessary to be an effective teacher.
The purpose of this research was to ascertain the knowledge and skills that would be most practical for individuals aspiring to administrative or leadership roles in schools or departments of music, and to design a doctoral cognate that would supply that knowledge. The author reviewed the available research into administrative training for individuals pursuing administrative work in schools and departments of music. Interviews were then conducted with current or former music administrators from across the United States, inquiring about their experiences as administrators, any administrative training they received, and the types of things they wished they had known when first working in an administrative capacity. The author used this information to make recommendations concerning the creation of a doctoral cognate in administration for graduate students preparing to become music faculty so that they are equipped to undertake administrative responsibilities.
The resulting cognate area consists of four courses: a course in finance, budgeting, and development; a course on organizational structure and behavior; a course on management and leadership theory; and a practicum or independent study in administration, in which students spend time observing and shadowing their department administrator(s) to apply the principles learned in the previous three courses.
The purpose of this research was to ascertain the knowledge and skills that would be most practical for individuals aspiring to administrative or leadership roles in schools or departments of music, and to design a doctoral cognate that would supply that knowledge. The author reviewed the available research into administrative training for individuals pursuing administrative work in schools and departments of music. Interviews were then conducted with current or former music administrators from across the United States, inquiring about their experiences as administrators, any administrative training they received, and the types of things they wished they had known when first working in an administrative capacity. The author used this information to make recommendations concerning the creation of a doctoral cognate in administration for graduate students preparing to become music faculty so that they are equipped to undertake administrative responsibilities.
The resulting cognate area consists of four courses: a course in finance, budgeting, and development; a course on organizational structure and behavior; a course on management and leadership theory; and a practicum or independent study in administration, in which students spend time observing and shadowing their department administrator(s) to apply the principles learned in the previous three courses.
ContributorsMcIvor, Emily (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Bailey, Wayne (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2015
Description
Canadian composer, conductor, pianist, and organist Donald Patriquin (b. 1938) is
best known for his choral folksong arrangements but is also a composer of many original
works. Songs of Innocence, which Patriquin calls “one of my very best choral works,”
exemplifies his approach to setting text to music and provides a rich opportunity for
understanding Patriquin’s method of selecting text, creating a kind of libretto out of the
available text, setting the text to music, and conceiving of and composing instrumental
parts equal in importance to the choral parts. Also evident in this work is his attention to
such elements as precise word painting, varied theoretical approaches, and a general
musical aesthetic that focuses on beauty. This quintessential composition provides
important insights into Patriquin’s personal artistry and his approach to composition.
Patriquin does not fit text to music; instead, all of the musical elements are generated out
of the textual nuances. Patriquin’s comments on the work and his process, gleaned from
extensive email correspondence and his attendance at the U.S. premiere of the work,
provide important insights that can inform conductors and singers of his music. The study
of this suite highlights Patriquin’s expert crafting of musical elements and the methodical
layering of elements he combines to tell the musical story. Pairing Patriquin’s email
correspondence with an in-depth look at Songs of Innocence reveals his overarching
compositional ideas and underlying musical motivations.
best known for his choral folksong arrangements but is also a composer of many original
works. Songs of Innocence, which Patriquin calls “one of my very best choral works,”
exemplifies his approach to setting text to music and provides a rich opportunity for
understanding Patriquin’s method of selecting text, creating a kind of libretto out of the
available text, setting the text to music, and conceiving of and composing instrumental
parts equal in importance to the choral parts. Also evident in this work is his attention to
such elements as precise word painting, varied theoretical approaches, and a general
musical aesthetic that focuses on beauty. This quintessential composition provides
important insights into Patriquin’s personal artistry and his approach to composition.
Patriquin does not fit text to music; instead, all of the musical elements are generated out
of the textual nuances. Patriquin’s comments on the work and his process, gleaned from
extensive email correspondence and his attendance at the U.S. premiere of the work,
provide important insights that can inform conductors and singers of his music. The study
of this suite highlights Patriquin’s expert crafting of musical elements and the methodical
layering of elements he combines to tell the musical story. Pairing Patriquin’s email
correspondence with an in-depth look at Songs of Innocence reveals his overarching
compositional ideas and underlying musical motivations.
ContributorsNeish, Julie (Author) / Schildkret, David (Thesis advisor) / Solis, Theodore (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2017
Description
This paper is a performance guide for Quatro Canções da Floresta do Amazonas [Four Songs of The Amazon Forest] by Brazil's most prolific composer, Heitor Villa-Lobos. The primary purpose of the paper is to serve as a source for the correct pronunciation of the Brazilian Portuguese language of the songs. It will begin with an overview of Heitor Villa-Lobos's life and career, showing how his compositions catalyzed the Nationalistic movement in Brazilian classical music. His inclusion of native and folk elements into classical compositions was a significant innovation, which places Villa-Lobos as one of the most important Brazilian classical composers. Furthermore, this paper will explore the issue of Brazilian Portuguese diction in depth, using the Quatro Canções da Floresta do Amazonas to aid non-native Brazilian speakers. This includes an International Phonetic Alphabet transcription of the songs, as well as a recording of the songs being read and sung by the author, a link to which can be found in the appendix.
ContributorsWillmer, Asleif Findabhair (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2017
Description
This multiple-case study addresses the nature of the out-of-school musical engagements of four undergraduate students who were enrolled as jazz studies majors in a large school of music in the U.S. southwest. It concerns what they did musically when they were outside of school, why they did what they did, what experiences they said they learned from, and how their out-of-school engagements related to their in-school curriculum. Research on jazz education, informal learning practices in music, and the in-school and out-of-school experiences of students informed this study. Data were generated through observation, interviews, video blogs (vlogs), and SMS text messages.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
Analysis of data revealed that participants engaged with music when outside of school by practicing, teaching, gigging, recording, playing music with others, attending live musical performances, socializing with other musicians, listening, and engaging with non-jazz musical styles (aside from listening). They engaged with music because of: 1) the love of music, 2) the desire for musical excellence, 3) financial considerations, 4) the aspiration to affect others positively with music, and 5) the connection with other musicians. Participants indicated that they learned by practicing, listening to recordings, attending live performances, playing paid engagements, socializing, teaching, and reading. In-school and out-of-school experience and learning had substantial but not complete overlap.
The study implies that a balance between in-school and out-of-school musical experience may help undergraduate jazz studies students to maximize their overall musical learning. It also suggests that at least some jazz studies majors are fluent in a wide variety of music learning practices that make them versatile, flexible, and employable musicians. Further implications are provided for undergraduate jazz students as well as collegiate jazz educators, the music education profession, and schools of music. Additional implications concern future research and the characterization of jazz study in academia.
ContributorsLibman, Jeffrey B (Author) / Tobias, Evan (Thesis advisor) / Kocour, Michael (Committee member) / Schmidt, Margaret (Committee member) / Solis, Theodore (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2014