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An analysis of vocal and instrumenta...

Motteler, Renee M.

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An analysis of vocal and instrumental approaches to jazz improvisation.

Record Type:	Electronic resources : Monograph/item
Title/Author:	An analysis of vocal and instrumental approaches to jazz improvisation./
Author:	Motteler, Renee M.
Description:	64 p.
Notes:	Source: Masters Abstracts International, Volume: 44-04, page: 1565.
Contained By:	Masters Abstracts International44-04.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1431808
ISBN:	9780542517471

An analysis of vocal and instrumental approaches to jazz improvisation.
Motteler, Renee M.

An analysis of vocal and instrumental approaches to jazz improvisation. - 64 p.

Source: Masters Abstracts International, Volume: 44-04, page: 1565.

Thesis (M.M.)--California State University, Long Beach, 2006.

Most jazz improvisation courses are geared primarily towards instrumentalists and do not serve the specific needs of jazz vocalists. In conjunction with a recital, the author considers three jazz solos, each recorded by a well-known vocalist and instrumentalist, and provides an in-depth analysis of transcribed solos to show the differing approaches to same composition. Each artist's biography is considered to determine how he or she learned the art of improvisation. This study shows a need for a different approach to teaching improvisation to vocalists. The artists and solo improvisations compared are Ella Fitzgerald and Ray Nance on Billy Strayhorn's Take The "A"-Train; Carmen McRae and Thelonious Monk on Monk's In Walked Bud; and Mark Murphy and Richie Cole on Oliver Nelson's Stolen Moments .

ISBN: 9780542517471Subjects--Topical Terms:

516178
Music.

An analysis of vocal and instrumental approaches to jazz improvisation.
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245 1 3 $a An analysis of vocal and instrumental approaches to jazz improvisation.
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500 $a Source: Masters Abstracts International, Volume: 44-04, page: 1565.
502 $a Thesis (M.M.)--California State University, Long Beach, 2006.
520 $a Most jazz improvisation courses are geared primarily towards instrumentalists and do not serve the specific needs of jazz vocalists. In conjunction with a recital, the author considers three jazz solos, each recorded by a well-known vocalist and instrumentalist, and provides an in-depth analysis of transcribed solos to show the differing approaches to same composition. Each artist's biography is considered to determine how he or she learned the art of improvisation. This study shows a need for a different approach to teaching improvisation to vocalists. The artists and solo improvisations compared are Ella Fitzgerald and Ray Nance on Billy Strayhorn's Take The "A"-Train; Carmen McRae and Thelonious Monk on Monk's In Walked Bud; and Mark Murphy and Richie Cole on Oliver Nelson's Stolen Moments .
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773 0 $t Masters Abstracts International $g 44-04.
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