東華大學圖書館 |

Hybrid Rhythmic Organization in Early Indojazz.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Hybrid Rhythmic Organization in Early Indojazz./
作者:	Selinsky, Peter Nelson.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	339 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
Contained By:	Dissertations Abstracts International81-03A.
標題:	Music theory. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13810115
ISBN:	9781088315293

Hybrid Rhythmic Organization in Early Indojazz.
Selinsky, Peter Nelson.

Hybrid Rhythmic Organization in Early Indojazz. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 339 p.

Source: Dissertations Abstracts International, Volume: 81-03, Section: A.

Thesis (Ph.D.)--Yale University, 2019.

This item is not available from ProQuest Dissertations & Theses.

In the West during the late 1950's, a convergence of social, political, and technological circumstances led to the creation of a new hybrid musical genre, Indojazz, from the combination of Indian classical and jazz repertoires. A cross-cultural experiment in communal improvisation between master Indian classical and jazz musicians, Indojazz posed many challenges for those who made it. A spectrum of differing cultural practices needed to be reconciled so that hybrid musical performances could be created in real time. The rhythmic systems of Indian classical and jazz repertoires do not fit together prototypically, and as a result issues of temporal coordination posed challenges for the emergent genre. This dissertation analyzes features of hybrid rhythmic organization that emerged in early Indojazz recordings (1961-1977).This study's primary mode of investigation is the close analysis of rhythm and meter in the musical surfaces of early Indojazz, and it variously explores: which jazz and Indian classical rhythmic features must be adapted to the hybrid setting and in what ways must they be adapted; which inherited cultural rhythmic indexes may persist when imported to Indojazz; and whether altogether new features emerge in the production of improvised Indojazz performances. The dissertation focuses on the recordings of saxophonist Joe Harriott and violinist John Mayer's Indo-Jazz Fusions (c.1965-67), as well as guitarist John McLaughlin and violinist L Shankar's Shakti (c.1975-77). Indo-Jazz Fusions and Shakti represent two of the first extended collaborations of high-profile jazz and Indian classical musicians, and their music epitomizes the genre's early period. In addition to recordings by these two groups, the dissertation also discusses the music of Ravi Shankar, Alla Rakha, Dave Brubeck, Ali Akbar Khan, John Handy, Zakir Hussain, Buddy Rich, Collin Walcott, Don Ellis, Hari Har Rao, Don Cherry, and Latif Khan, among others.The dissertation is in five chapters. Chapter 1 narrates Indojazz's early history and explores questions of: the genre's representation in changing markets; communal improvisation; and musicians' methods of finding common ground between distinct cultural musical idioms. The chapter closes with a discussion of Indojazz through the categories of hybridity theory to motivate a music analytical method. Chapter 2 explores the challenges of describing complex, non-isochronous metric hierarchies like those found in Indojazz. In order to assist in the sensitive analysis of Indojazz's complex rhythmic surfaces, it formulates a theory of periodic, hierarchical meter that does not rely on categorical levels of pulses. This "span-adjacency" approach to hierarchy is capable of describing features that have proven problematic to previous metric formalizations and that are common not only to Indojazz but also to a variety of related non-isochronous musics.Chapter 3 explores Indojazz meter through the speculative combination of Indian classical and mid-century jazz systems of rhythmic organization, emphasizing paradigmatic conflicts between the cultural rhythmic systems. This speculative combination of systems frames the analysis of diverse examples of Indojazz's hybrid rhythmic practice and across a variety of timescales from small beat subdivisions to large formal structures. Chapter 4 explores the structure and use of tihais (tripartite rhythmic cadences of Indian classical genres) as they appear in a variety of Indojazz settings. The chapter argues that Shakti consistently employs tihais according to their form-articulating roles, and the chapter closes with an analysis of John Handy and Ali Akbar Khan's "Karuna Supreme" that explores the syntactic role that tihais can play in their hybrid improvisational language. Finally, Chapter 5 presents seven analyses of hybrid rhythmic organization in the music of Indo-Jazz Fusions and Shakti, with particular attention to the temporal manipulations of North Indian ragas and talas to suit characteristic features of jazz practice in the former and the abstraction of cultural rhythmic indices as revealed through the interrelations of successive metric in the latter.

ISBN: 9781088315293Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Indojazz

Hybrid Rhythmic Organization in Early Indojazz.
LDR:05436nmm a2200373 4500 001 2346314
005 20230315102135.5
006 m o d
007 cr#unu||||||||
008 241004s2019 ||||||||||||||||| ||eng d
020 $a 9781088315293
035 $a (MiAaPQ)AAI13810115
035 $a AAI13810115
040 $a MiAaPQ $c MiAaPQ
100 1 $a Selinsky, Peter Nelson. $3 3685394
245 1 0 $a Hybrid Rhythmic Organization in Early Indojazz.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 339 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
500 $a Advisor: Cohn, Richard.
502 $a Thesis (Ph.D.)--Yale University, 2019.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a In the West during the late 1950's, a convergence of social, political, and technological circumstances led to the creation of a new hybrid musical genre, Indojazz, from the combination of Indian classical and jazz repertoires. A cross-cultural experiment in communal improvisation between master Indian classical and jazz musicians, Indojazz posed many challenges for those who made it. A spectrum of differing cultural practices needed to be reconciled so that hybrid musical performances could be created in real time. The rhythmic systems of Indian classical and jazz repertoires do not fit together prototypically, and as a result issues of temporal coordination posed challenges for the emergent genre. This dissertation analyzes features of hybrid rhythmic organization that emerged in early Indojazz recordings (1961-1977).This study's primary mode of investigation is the close analysis of rhythm and meter in the musical surfaces of early Indojazz, and it variously explores: which jazz and Indian classical rhythmic features must be adapted to the hybrid setting and in what ways must they be adapted; which inherited cultural rhythmic indexes may persist when imported to Indojazz; and whether altogether new features emerge in the production of improvised Indojazz performances. The dissertation focuses on the recordings of saxophonist Joe Harriott and violinist John Mayer's Indo-Jazz Fusions (c.1965-67), as well as guitarist John McLaughlin and violinist L Shankar's Shakti (c.1975-77). Indo-Jazz Fusions and Shakti represent two of the first extended collaborations of high-profile jazz and Indian classical musicians, and their music epitomizes the genre's early period. In addition to recordings by these two groups, the dissertation also discusses the music of Ravi Shankar, Alla Rakha, Dave Brubeck, Ali Akbar Khan, John Handy, Zakir Hussain, Buddy Rich, Collin Walcott, Don Ellis, Hari Har Rao, Don Cherry, and Latif Khan, among others.The dissertation is in five chapters. Chapter 1 narrates Indojazz's early history and explores questions of: the genre's representation in changing markets; communal improvisation; and musicians' methods of finding common ground between distinct cultural musical idioms. The chapter closes with a discussion of Indojazz through the categories of hybridity theory to motivate a music analytical method. Chapter 2 explores the challenges of describing complex, non-isochronous metric hierarchies like those found in Indojazz. In order to assist in the sensitive analysis of Indojazz's complex rhythmic surfaces, it formulates a theory of periodic, hierarchical meter that does not rely on categorical levels of pulses. This "span-adjacency" approach to hierarchy is capable of describing features that have proven problematic to previous metric formalizations and that are common not only to Indojazz but also to a variety of related non-isochronous musics.Chapter 3 explores Indojazz meter through the speculative combination of Indian classical and mid-century jazz systems of rhythmic organization, emphasizing paradigmatic conflicts between the cultural rhythmic systems. This speculative combination of systems frames the analysis of diverse examples of Indojazz's hybrid rhythmic practice and across a variety of timescales from small beat subdivisions to large formal structures. Chapter 4 explores the structure and use of tihais (tripartite rhythmic cadences of Indian classical genres) as they appear in a variety of Indojazz settings. The chapter argues that Shakti consistently employs tihais according to their form-articulating roles, and the chapter closes with an analysis of John Handy and Ali Akbar Khan's "Karuna Supreme" that explores the syntactic role that tihais can play in their hybrid improvisational language. Finally, Chapter 5 presents seven analyses of hybrid rhythmic organization in the music of Indo-Jazz Fusions and Shakti, with particular attention to the temporal manipulations of North Indian ragas and talas to suit characteristic features of jazz practice in the former and the abstraction of cultural rhythmic indices as revealed through the interrelations of successive metric in the latter.
590 $a School code: 0265.
650 4 $a Music theory. $3 547155
653 $a Indojazz
653 $a Hybrid musical performances
653 $a Cultural rhythmic indexes
690 $a 0221
710 2 $a Yale University. $b Music. $3 3561715
773 0 $t Dissertations Abstracts International $g 81-03A.
790 $a 0265
791 $a Ph.D.
792 $a 2019
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13810115