基思·沃特斯评论,《20世纪60年代的后波普爵士乐:韦恩·肖特、赫比·汉考克和奇克·科里亚的作品》(牛津大学出版社,2019)

IF 0.4 2区 艺术学 0 MUSIC Music Theory Online Pub Date : 2020-09-01 DOI:10.30535/MTO.26.3.14
Ben Baker
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引用次数: 0

摘要

[1] Keith Waters的《20世纪60年代的后波普爵士乐》(2019)汇集了音乐理论界最多产的爵士乐学者之一20多年的工作。在他的学术生涯中,Waters一直专注于20世纪60年代一批特定爵士音乐家的实践。在这一时期,Miles Davis、Wayne Shorter、Herbie Hancock和Chick Corea等音乐家的作品经常融合了前几十年的音调爵士乐元素,包括bebop、硬bop和灵魂爵士乐,并具有新兴模态和自由(或先锋)爵士乐实践的特点。Waters和其他人使用postpop一词来指代从这种融合中产生的作曲和即兴创作趋势,爵士乐作品和相关录音的少量但有影响力的曲目就是例证。(1) 他对这种音乐的持久参与产生了一系列被广泛引用的出版物。虽然其中一些研究广泛涉及即兴创作(2013)或和声(Waters和Williams,2010)策略,但大多数研究都通过特定音乐家的作品来面对分析或方法论问题。其中包括Hancock和Keith Jarre(19962001)对即兴创作中的形式和韵律位移的研究,Hancock(2005)和Corea(2016)对作品中的非功能和声的研究,John Coltrane的《Giant Steps》中的ic4周期对战后作曲家的影响(2010),以及Miles Davis著名的第二个五重奏中的即兴实践(20032011)。(2)
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Review of Keith Waters, Postbop Jazz in the 1960s: The Compositions of Wayne Shorter, Herbie Hancock, and Chick Corea (Oxford University Press, 2019)
[1] Keith Waters’s Postbop Jazz in the 1960s (2019) brings together more than two decades of work by one of the most prolific jazz scholars in music theory. Over the course of his academic career, Waters has focused consistently on the practices of a particular set of jazz musicians in the 1960s. During this period, the output of musicians like Miles Davis, Wayne Shorter, Herbie Hancock, and Chick Corea often blended elements of tonal jazz from earlier decades—including bebop, hard bop, and soul jazz—with features of emergent modal and free (or avant-garde) jazz practices. Waters and others use the term postbop to refer to the compositional and improvisational tendencies that emerged from this confluence, which are exemplified by a small but influential repertoire of jazz compositions and associated recordings.(1) His enduring engagement with this music has yielded a series of widely cited publications. While a few of these studies broadly address improvisational (2013) or harmonic (Waters and Williams 2010) strategies, most confront analytical or methodological issues through the lens of a specific musician’s output. These include examinations of form and metric displacement in improvisations by Hancock and Keith Jarre (1996, 2001), nonfunctional harmony in compositions by Hancock (2005) and Corea (2016), the influence of the ic4 cycles in John Coltrane’s “Giant Steps” on postbop composers (2010), and improvisatory practices in Miles Davis’s celebrated second quintet (2003, 2011).(2)
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来源期刊
CiteScore
1.70
自引率
25.00%
发文量
26
审稿时长
42 weeks
期刊介绍: Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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