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Beyond the Big Band: Concepts and St...

Beeferman, Gordon.

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Beyond the Big Band: Concepts and Strategies in Creative Orchestra Music.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Beyond the Big Band: Concepts and Strategies in Creative Orchestra Music./
作者:	Beeferman, Gordon.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	279 p.
附註:	Source: Dissertation Abstracts International, Volume: 79-12(E), Section: A.
Contained By:	Dissertation Abstracts International79-12A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10749166
ISBN:	9780438170711

Beyond the Big Band: Concepts and Strategies in Creative Orchestra Music.
Beeferman, Gordon.

Beyond the Big Band: Concepts and Strategies in Creative Orchestra Music. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 279 p.

Source: Dissertation Abstracts International, Volume: 79-12(E), Section: A.

Thesis (Ph.D.)--New York University, 2018.

Starting in the 1920s, composers and bandleaders such as Duke Ellington and Count Basie brilliantly incorporated the intimacy and spontaneity of improvisation into a large ensemble context. In the 1940s, economics and stylistic evolution changed the trajectory of jazz towards the small quartet or quintet, but the big band tradition continued in new formats. Sun Ra combined the discipline of the big band with avant-garde free improvisation and visual spectacle. Starting in the 1960s, the tradition of large ensemble improvisation took on a whole new life in the avant-garde. Inspired by the innovations of Sun Ra and other African-American pioneers of free music like Ornette Coleman, Albert Ayler and John Coltrane, composer/bandleaders began to take the improvising orchestra in new directions. Often influencing and influenced by the Euro-American avant-garde (such as John Cage and Krysztof Penderecki), composers developed new performance strategies, notational techniques, and musical forms for collective improvisation.

ISBN: 9780438170711Subjects--Topical Terms:

516178
Music.

Beyond the Big Band: Concepts and Strategies in Creative Orchestra Music.
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520 $a Starting in the 1920s, composers and bandleaders such as Duke Ellington and Count Basie brilliantly incorporated the intimacy and spontaneity of improvisation into a large ensemble context. In the 1940s, economics and stylistic evolution changed the trajectory of jazz towards the small quartet or quintet, but the big band tradition continued in new formats. Sun Ra combined the discipline of the big band with avant-garde free improvisation and visual spectacle. Starting in the 1960s, the tradition of large ensemble improvisation took on a whole new life in the avant-garde. Inspired by the innovations of Sun Ra and other African-American pioneers of free music like Ornette Coleman, Albert Ayler and John Coltrane, composer/bandleaders began to take the improvising orchestra in new directions. Often influencing and influenced by the Euro-American avant-garde (such as John Cage and Krysztof Penderecki), composers developed new performance strategies, notational techniques, and musical forms for collective improvisation.
520 $a These composers were mostly African-American and their ensembles were either African-American or racially mixed, and entrenched racist attitudes excluded them from existing white-dominated musical institutions. Lumped in with jazz by critics and audiences, but excluded by jazz clubs because of their avant-garde sensibilities and lack of mainstream appeal, they had to create their own performing institutions and contexts and find ways to fund their own work. The new form of music required new structures to support it -- structures that were not easily established or maintained. Due to economic precariousness, few composers achieved longevity in this format. But some, like Butch Morris and Anthony Braxton, have had prolific careers and their work has been well-documented. Others, like Bill Dixon and Michael Mantler, have less recorded output, but their work is of great originality and significance.
520 $a In this dissertation, I will explore the musical influences, philosophies, composition techniques, and performance practices of these composer/bandleaders, who have created partially or totally improvised large ensemble works. Through detailed analysis and comparison of specific works, I hope to give readers a greater understanding of these composers' musical achievements. In addition, I will touch on their social and economic realities -- how they managed, or manage, to exist, or even thrive, outside established musical institutions. Finally, I will attempt to trace stylistic, technical, and philosophical connections between their work, in order to better recognize and define the achievements of the genre, which is often called Creative Orchestra Music.
520 $a At its heart, I intend this dissertation to illuminate what I see as the most intriguing question of Creative Orchestra Music, and the very thing that I believe defines the genre: how can a composer's singular vision not only co-exist with, but require for its realization, the singular and varied voices of a large group of improvising musicians? In pursuing this question, I will explore both the ways in which the music deals with concepts of individuality and "freedom," and the unique fusion of Afro-American and Euro-American musical traditions.
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