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Analyzing Jazz Improvisation with Voice-Leading Models : = A Study of Saxophonists' Harmonic Variations on Rhythm Changes.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Analyzing Jazz Improvisation with Voice-Leading Models :/
Reminder of title:	A Study of Saxophonists' Harmonic Variations on Rhythm Changes.
Author:	Helm, Ethan.
Description:	1 online resource (447 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
Contained By:	Dissertations Abstracts International83-12A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28971320click for full text (PQDT)
ISBN:	9798819378793

Analyzing Jazz Improvisation with Voice-Leading Models : = A Study of Saxophonists' Harmonic Variations on Rhythm Changes.
Helm, Ethan.

Analyzing Jazz Improvisation with Voice-Leading Models :A Study of Saxophonists' Harmonic Variations on Rhythm Changes. - 1 online resource (447 pages)

Source: Dissertations Abstracts International, Volume: 83-12, Section: A.

Thesis (Ph.D.)--New York University, 2022.

Includes bibliographical references

"Rhythm Changes" is one of the most important harmonic forms in jazz. Evolving from George Gershwin's 1930 popular song "I Got Rhythm," it has become a flexible framework from which jazz artists have generated countless compositions and improvisations. This dissertation examines patterns of harmonic variation in rhythm changes through the compositions and improvised solos of twenty-six saxophonists, recorded between 1939 and 1963. Using chord/scale analysis and voice-leading analysis adapted from Schenkerian analysis, this study proposes voice-leading models that can describe multiple performances of rhythm changes and suggest structural connections between performances from different artists, eras, and styles. In this study, voice-leading models are considered as structural frameworks embellished by musicians to create unique performances, which nevertheless bear similarities to one another on deeper levels of harmonic form. After an introduction to the topic and problem statements in Chapter I, Chapter II reviews the literature of jazz analysis, starting with early writing by musicians, critics, and historians, and progressing to recent scholarship and its techniques of voice-leading analysis. Chapter III states the design of the study, defines key terms, and demonstrates the study's method. Chapter IV gives a historical overview and brief harmonic analysis of rhythm changes, tracing its evolution from a popular song to a form that has become foundational to jazz repertoire. Chapters V and VI cover the A-section and B-section, respectively, and propose voice-leading models with examples of improvisations and compositions that can be interpreted as variations on these models. Chapter VII presents full-chorus analyses of performances in which voice-leading models from multiple sections combine to create background harmonic structures. Chapter VIII summarizes the findings of the study and evaluates the effectiveness of the method. It places this study within the context of analytical listening in jazz and proposes avenues for further study. The study concludes with three appendices. Appendix A and B contain tables of every improvised solo and composition in this study with additional musical details. Appendix C contains an index of voice-leading models proposed in this study, providing a prototype for each as well as a list of representative examples from the solos and compositions.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798819378793Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

BebopIndex Terms--Genre/Form:

542853
Electronic books.

Analyzing Jazz Improvisation with Voice-Leading Models : = A Study of Saxophonists' Harmonic Variations on Rhythm Changes.
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520 $a "Rhythm Changes" is one of the most important harmonic forms in jazz. Evolving from George Gershwin's 1930 popular song "I Got Rhythm," it has become a flexible framework from which jazz artists have generated countless compositions and improvisations. This dissertation examines patterns of harmonic variation in rhythm changes through the compositions and improvised solos of twenty-six saxophonists, recorded between 1939 and 1963. Using chord/scale analysis and voice-leading analysis adapted from Schenkerian analysis, this study proposes voice-leading models that can describe multiple performances of rhythm changes and suggest structural connections between performances from different artists, eras, and styles. In this study, voice-leading models are considered as structural frameworks embellished by musicians to create unique performances, which nevertheless bear similarities to one another on deeper levels of harmonic form. After an introduction to the topic and problem statements in Chapter I, Chapter II reviews the literature of jazz analysis, starting with early writing by musicians, critics, and historians, and progressing to recent scholarship and its techniques of voice-leading analysis. Chapter III states the design of the study, defines key terms, and demonstrates the study's method. Chapter IV gives a historical overview and brief harmonic analysis of rhythm changes, tracing its evolution from a popular song to a form that has become foundational to jazz repertoire. Chapters V and VI cover the A-section and B-section, respectively, and propose voice-leading models with examples of improvisations and compositions that can be interpreted as variations on these models. Chapter VII presents full-chorus analyses of performances in which voice-leading models from multiple sections combine to create background harmonic structures. Chapter VIII summarizes the findings of the study and evaluates the effectiveness of the method. It places this study within the context of analytical listening in jazz and proposes avenues for further study. The study concludes with three appendices. Appendix A and B contain tables of every improvised solo and composition in this study with additional musical details. Appendix C contains an index of voice-leading models proposed in this study, providing a prototype for each as well as a list of representative examples from the solos and compositions.
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