{"title":"Unlocking the Mysteries of the Second Miles Davis Quintet","authors":"Benjamin Bierman","doi":"10.14713/jjs.v7i2.15","DOIUrl":"https://doi.org/10.14713/jjs.v7i2.15","url":null,"abstract":"A review of The Studio Recordings of the Miles Davis Quintet, 1965–68 , by Keith Waters (Oxford University Press, 2011).","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115179480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This bibliography compiles articles of interest in jazz music scholarship that were published in 2007 or 2008 and appeared in journals not specifically dedicated to jazz study.
{"title":"Jazz Research Bibliography (2007–2008)","authors":"J. McGowan, R. Desmeules","doi":"10.14713/jjs.v7i2.16","DOIUrl":"https://doi.org/10.14713/jjs.v7i2.16","url":null,"abstract":"This bibliography compiles articles of interest in jazz music scholarship that were published in 2007 or 2008 and appeared in journals not specifically dedicated to jazz study.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114279256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1944, Duke Ellington told a writer from The New Yorker that his composition “Harlem Air Shaft,” recorded four years earlier, was inspired by the myriad sounds heard in the air shaft of a Harlem apartment building (“You hear fights, you smell dinner, you hear people making love…”). Many scholars have contended that Ellington invented this “storyline” after the composition was written. This article addresses the authenticity of “Harlem Air Shaft” as programmatic music. The author finds ample evidence—from unpublished manuscripts, unissued radio broadcasts, analysis of arranging devices and compositional design, and other Ellington testimony—that Ellington did indeed have the sounds and smells of a Harlem air shaft in mind as he wrote the composition.
1944年，艾灵顿公爵(Duke Ellington)告诉《纽约客》(New Yorker)的一位作家，他四年前创作的《哈莱姆通风井》(Harlem Air Shaft)的灵感来自哈莱姆公寓楼通风井里的无数声音(“你听到打架的声音，闻到晚餐的味道，听到人们做爱的声音……”)。许多学者认为，这是艾灵顿在写完这篇文章后发明的“故事情节”。这篇文章讨论了“哈莱姆空气井”作为节目音乐的真实性。作者从未发表的手稿、未发行的广播、对编曲装置和作曲设计的分析，以及艾灵顿的其他证词中找到了充足的证据，证明艾灵顿在创作这首曲子时，脑海中确实有哈莱姆通风井的声音和气味。
{"title":"\"Harlem Air Shaft\": A True Programmatic Composition?","authors":"Edward Green","doi":"10.14713/JJS.V7I1.9","DOIUrl":"https://doi.org/10.14713/JJS.V7I1.9","url":null,"abstract":"In 1944, Duke Ellington told a writer from The New Yorker that his composition “Harlem Air Shaft,” recorded four years earlier, was inspired by the myriad sounds heard in the air shaft of a Harlem apartment building (“You hear fights, you smell dinner, you hear people making love…”). Many scholars have contended that Ellington invented this “storyline” after the composition was written. This article addresses the authenticity of “Harlem Air Shaft” as programmatic music. The author finds ample evidence—from unpublished manuscripts, unissued radio broadcasts, analysis of arranging devices and compositional design, and other Ellington testimony—that Ellington did indeed have the sounds and smells of a Harlem air shaft in mind as he wrote the composition.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121323732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Musicians featured in this collection of Ed Berger's photographs include Eric Alexander, Geri Allen, Billy Bang, Eddie Bert, Ray Bryant, Candido, Ron Carter, Marc Cary, Dave Douglas, Kurt Elling, Ned Goold, Wycliffe Gordon, Henry Grimes, Chico Hamilton, Roy Hargrove, Barry Harris, Jon Hendricks, Fred Hersch, Ingrid Jensen, Howard Johnson, Kidd Jordan, Teo Macero, Russell Malone, Branford Marsalis, Christian McBride, Grachan Moncur III, Paul Motian, Nicki Parrott, Les Paul, Jeremy Pelt, Houston Person, Riza Printup, Dizzy Reece, Eric Reed, Sam Rivers, Scott Robinson, Fred Staton, George Wein, Frank Wess, Joe Wilder, and Jackie Williams.
音乐家特别在艾德·伯杰的收藏照片include埃里克亚历山大艾伦Geri,比利爆炸,艾迪伯特·布莱恩特,雷,Candido、罗恩·卡特、马克·道格拉斯凯里,戴夫,库尔特奈德,Elling Goold威克里夫戈登,亨利·格兰姆斯奇科·汉密尔顿,罗伊·哈格罗夫,巴里·哈里斯,乔恩·亨德里克斯,Fred Hersch英格丽·詹森,霍华德·约翰逊,基德乔丹,Teo Macero,拉塞尔马龙,Branford Marsalis,克里斯蒂安•麦克布莱德Grachan Moncur III,保罗Motian,本站Parrott, Les Paul (Jeremy Pelt休斯顿人，Riza Printup, Dizzy Reece, Eric Reed, Sam Rivers, Scott Robinson, Fred Staton, George Wein, Joe怀尔德和Jackie Williams。
{"title":"Jazz Portraits: 2000–2010","authors":"Edward Berger","doi":"10.14713/JJS.V7I1.10","DOIUrl":"https://doi.org/10.14713/JJS.V7I1.10","url":null,"abstract":"Musicians featured in this collection of Ed Berger's photographs include Eric Alexander, Geri Allen, Billy Bang, Eddie Bert, Ray Bryant, Candido, Ron Carter, Marc Cary, Dave Douglas, Kurt Elling, Ned Goold, Wycliffe Gordon, Henry Grimes, Chico Hamilton, Roy Hargrove, Barry Harris, Jon Hendricks, Fred Hersch, Ingrid Jensen, Howard Johnson, Kidd Jordan, Teo Macero, Russell Malone, Branford Marsalis, Christian McBride, Grachan Moncur III, Paul Motian, Nicki Parrott, Les Paul, Jeremy Pelt, Houston Person, Riza Printup, Dizzy Reece, Eric Reed, Sam Rivers, Scott Robinson, Fred Staton, George Wein, Frank Wess, Joe Wilder, and Jackie Williams.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125348452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Poet Mark Haywood presents three sonnets that explore the life and music of Thelonious Monk, the great jazz pianist and composer.
诗人马克·海伍德呈现了三首十四行诗，探索了伟大的爵士钢琴家和作曲家塞隆尼斯·蒙克的生活和音乐。
{"title":"Monk Trio: A Sequence of Sonnets","authors":"M. Haywood","doi":"10.14713/jjs.v7i1.5","DOIUrl":"https://doi.org/10.14713/jjs.v7i1.5","url":null,"abstract":"Poet Mark Haywood presents three sonnets that explore the life and music of Thelonious Monk, the great jazz pianist and composer.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129442740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Henry Martin, a composer, music theorist, professor of music at Rutgers University–Newark, and co-editor of the Journal of Jazz Studies , contributes a review-essay about Steve Larson’s recent book, Analyzing Jazz: A Schenkerian Approach (Pendragon Press, 2009).
{"title":"More Than Just Guide Tones: Steve Larson's Analyzing Jazz— A Schenkerian Approach","authors":"H. Martin","doi":"10.14713/jjs.v7i1.7","DOIUrl":"https://doi.org/10.14713/jjs.v7i1.7","url":null,"abstract":"Henry Martin, a composer, music theorist, professor of music at Rutgers University–Newark, and co-editor of the Journal of Jazz Studies , contributes a review-essay about Steve Larson’s recent book, Analyzing Jazz: A Schenkerian Approach (Pendragon Press, 2009).","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126643505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Allen Forte, the prominent Yale music theorist, delivered this previously unpublished lecture in Germany in 1958. In “Forte’s Lecture on Jazz: An Introduction” (included elsewhere in this issue), Benjamin Givan states that this lecture is “the earliest known analytical study of jazz by a professional music theorist.” The lecture applies Schenkerian concepts of “diminution technique” to jazz improvisations from early blues to bebop, including recordings by Bessie Smith, Louis Armstrong, Lester Young, Charlie Parker, and the Modern Jazz Quartet. As Forte explains, “By diminution technique is meant the melodic means (as distinct from, say, the rhythmic or chordal means) by which a given basic tonal structure is varied so as to expand or prolong its content.” Several notated examples are provided, as well as an appendix of recordings referenced.
{"title":"The Development of Diminutions in American Jazz","authors":"A. Forte","doi":"10.14713/JJS.V7I1.3","DOIUrl":"https://doi.org/10.14713/JJS.V7I1.3","url":null,"abstract":"Allen Forte, the prominent Yale music theorist, delivered this previously unpublished lecture in Germany in 1958. In “Forte’s Lecture on Jazz: An Introduction” (included elsewhere in this issue), Benjamin Givan states that this lecture is “the earliest known analytical study of jazz by a professional music theorist.” The lecture applies Schenkerian concepts of “diminution technique” to jazz improvisations from early blues to bebop, including recordings by Bessie Smith, Louis Armstrong, Lester Young, Charlie Parker, and the Modern Jazz Quartet. As Forte explains, “By diminution technique is meant the melodic means (as distinct from, say, the rhythmic or chordal means) by which a given basic tonal structure is varied so as to expand or prolong its content.” Several notated examples are provided, as well as an appendix of recordings referenced.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127728703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This bibliography compiles articles of interest in jazz music scholarship that were published in 2005 or 2006 and appeared in journals not specifically dedicated to jazz study.
{"title":"Jazz Research Bibliography (2005–2006)","authors":"J. McGowan, R. Desmeules","doi":"10.14713/JJS.V7I1.8","DOIUrl":"https://doi.org/10.14713/JJS.V7I1.8","url":null,"abstract":"This bibliography compiles articles of interest in jazz music scholarship that were published in 2005 or 2006 and appeared in journals not specifically dedicated to jazz study.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123628542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article provides background on Allen Forte’s 1958 lecture, “The Development of Diminutions in American Jazz,” which is published for the first time in this issue of the Journal of Jazz Studies . Topics include the context in which the lecture was delivered; the lecture’s place in the history of jazz theory and analysis; and the career of Forte, one of the nation’s most prominent music theorists, including his little-known ties to the jazz world.
这篇文章提供了Allen Forte 1958年演讲的背景，“美国爵士乐中衰减的发展”，该演讲首次发表在这一期的爵士乐研究杂志上。主题包括讲座的背景;讲座在爵士乐理论和分析史上的地位;以及美国最杰出的音乐理论家之一福特(Forte)的职业生涯，包括他与爵士乐界鲜为人知的联系。
{"title":"Forte's Lecture on Jazz: An Introduction","authors":"B. Givan","doi":"10.14713/JJS.V7I1.2","DOIUrl":"https://doi.org/10.14713/JJS.V7I1.2","url":null,"abstract":"This article provides background on Allen Forte’s 1958 lecture, “The Development of Diminutions in American Jazz,” which is published for the first time in this issue of the Journal of Jazz Studies . Topics include the context in which the lecture was delivered; the lecture’s place in the history of jazz theory and analysis; and the career of Forte, one of the nation’s most prominent music theorists, including his little-known ties to the jazz world.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124873894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Explores the government's strategy to eradicate alchohol consumption in the United States by adding poisonous compounds to render it undrinkable and how these efforts affected Bix Beiderbecke, perhaps precipitating his physical decline and early death
{"title":"Was Bix Beiderbecke Poisoned by the Federal Government","authors":"Randall Sandke","doi":"10.14713/JJS.V9I2.68","DOIUrl":"https://doi.org/10.14713/JJS.V9I2.68","url":null,"abstract":"Explores the government's strategy to eradicate alchohol consumption in the United States by adding poisonous compounds to render it undrinkable and how these efforts affected Bix Beiderbecke, perhaps precipitating his physical decline and early death","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133299663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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