Schenkerian analysis of modern jazz: Questions about method

Music Theory Spectrum

Volumn 20, Issue 2, 1998, Pages 209-241

  Larson, Steve ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949422319     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.2307/746048     Document Type: Review

References (67)

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3. Jeff Pressing, "Towards an Understanding of Scales in Jazz," Jazzforschung/Jazz Research 9 (1978): 25-35
4. George Allan Russell, The Lydian-Chromatic Concept of Tonal Organization for Improvisation, for All Instruments (New York: Concept Publishing Corp., 1959)
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6. Barry Dean Kernfeld, "Adderley, Coltrane, and Davis at the Twilight of Bebop: the Search for Melodic Coherence (1958-59)" (Ph.D. diss., Cornell University, 1981)
7. idem, "Two Coltranes," Annual Review of Jazz Studies 2 (1983): 7-66
8. Thomas Owens, "Charlie Parker: Techniques of Improvisation" (Ph.D. diss., University of California at Los Angeles, 1974)
9. Henry Martin, Charlie Parker and Thematic Improvisation (Lanham, Maryland: Scarecrow Press, 1996)
10. Gregory Eugene Smith, "Homer, Gregory, and Bill Evans? The Theory of Formulaic Composition in the Context of Jazz Piano Improvisation" (Ph.D. diss., Harvard University, 1983)
11. Charles Clement Blancq III, "Melodic Improvisation in American Jazz: the Style of Theodore 'Sonny' Rollins, 1951-1962" (Ph.D. diss., Tulane University, 1977)
12. Gunther Schuller, "Sonny Rollins and Thematic Improvising," in Jazz Panorama, ed. Martin Williams (New York: Da Capo Press, 1979), 239-52
13. Cynthia Folio, "An Analysis of Polyrhythm in Selected Improvised Jazz Solos," in Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann (Rochester: University of Rochester Press, 1995), 103-34
14. Keith Waters, "Blurring the Barline: Metric Displacement in the Piano Solos of Herbie Hancock," Annual Review of Jazz Studies 8 (1996): 19-37
15. Keith Winter, "Communication Analysis in Jazz," Jazzforschung/Jazz Research 11 (1979): 93-133
16. Steven Block, "Pitch-Class Transformations in Free Jazz," Music Theory Spectrum 12/2 (1990): 181-202
17. idem, "'Bemsha Swing': the Transformation of a Bebop Classic to Free Jazz," Music Theory Spectrum 19/2 (1997): 206-231
18. Julie Anne Lindsay, "Analytical Approaches to Jazz Polyphony, With Special Reference to the Use of Pitch-Class Theory in the Works of Toshiko Akiyoshi and Phil Woods" (Masters thesis, La Trobe University, 1995)
19. Jeff Pressing, "Pitch-Class Set Structures in Contemporary Jazz," Jazzforschung/Jazz Research 14 (1982): 133-172
20. Computer analyses of jazz appear in James Kent Williams, "Themes Composed by Jazz Musicians of the Bebop Era: a Study of Harmony, Rhythm, and Melody" (Ph.D. diss., Indiana University, 1982)
21. idem, "A Method for the Computer-Aided Analysis of Jazz Melody in the Small Dimensions," Annual Review of Jazz Studies 3 (1985): 41-70
22. Gary Potter, "Analyzing Improvised Jazz," College Music Symposium 32 (1992): 143-60
23. Steve Larson, "Some Aspects of the Album 'Out of the Woods' by the Chamber Ensemble Oregon," (Masters thesis, University of Oregon, 1981)
24. idem, "Yellow Bell and a Jazz Paradigm," In Theory Only 6/3 (1982): 31-46
25. idem, "Schenkerian Analysis of Modern Jazz"
26. idem, "Schenkerian Analysis of Modern Jazz"; idem, "Dave McKenna's Performance of 'Have You Met Miss Jones?'," American Music 11/3 (1993): 283-315
27. idem, "The Art of Charlie Parker's Rhetoric," Annual Review of Jazz Studies 8 (1996): 141-66
28. idem, "Swing and Motive in Three Performances by Oscar Peterson," Journal of Music Theory, forthcoming
29. Henry John Martin, "Exempli Gratia: As You Like It (Chord Substitution in Ellington's 'Satin Doll')," In Theory Only 1 (1975): 37
30. idem, Bebop: The Music and its Players (New York: Oxford University Press, 1995)
31. Tom Simon, "An Analytical Inquiry into Thelonious Monk's 'Ruby, My Dear'" (Masters thesis, University of Michigan, 1978)
32. Milton Lee Stewart, "Structural Development in the Jazz Improvisational Technique of Clifford Brown" (Ph.D. diss., University of Michigan, 1973)
33. Jazzforschung/Jazz Research 6/7 (1974-75), 141-273
34. Steven Strunk, "The Harmony of Early Bop: a Layered Approach," Journal of Jazz Studies 6 (1979): 4-53
35. idem, "Bebop Melodic Lines: Tonal Characteristics," Annual Review of Jazz Studies 3 (1985): 97-120
36. idem, "Linear Intervallic Patterns in Jazz Repertory," Annual Review of Jazz Studies 8 (1996): 63-115
37. Wilhelm Furtwängler, "Heinrich Schenker: Ein Zeitgemässes Problem, (1947)," Ton und Wort Aufsätze und Vorträge 1918 bis 1954 (Wiesbaden: F. A. Brockhaus, 1955), 198-204
38. trans. Jan Emerson as "Heinrich Schenker: a Contemporary Problem," Sonus 6/1 (1985): 1-5
39. André Hodeir, Jazz: Its Evolution and Essence, trans. David Noakes (New York: Grove Press, 1956)
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41. Heinrich Schenker, Free Composition, trans. and ed. Ernst Oster (New York: Longman, 1979), 6
42. John Rink, "Schenker and Improvisation," Journal of Music Theory 37/1 (1993): 1-54
43. Heinrich Schenker, "The Art of Improvisation," trans. Richard Kramer, in The Masterwork in Music, Volume I, ed. William Drabkin (Cambridge: Cambridge University Press, 1994), 2-19
44. Carl Philipp Emanuel Bach, Essay on the True Art of Playing Keyboard Instruments, trans. and ed. William Mitchell (New York: Norton, 1949)
45. Sylvan Kalib, "Thirteen Essays from the Three Yearbooks Das Meisterwerk in der Musik by Heinrich Schenker: an Annotated Translation" (Ph.D. diss.. Northwestern University, 1973), vol. 3, p. 4
46. Noam Chomsky, Syntactic Structures (The Hague: Mouton, 1957)
47. Aspects of the Theory of Syntax (Cambridge: Harvard University Press, 1965)
48. Language and Mind (New York: Harcourt Brace Jovanovitch, 1968)
49. Steve Larson, "The Problem of Prolongation in Tonal Music: Terminology, Perception, and Expressive Meaning," Journal of Music Theory 41/1 (1997): 101-36
50. Edward Aldwell and Carl Schachter, Harmony and Voice Leading, 2nd ed. (New York: Harcourt Brace Johanovich, 1989), 123-35
51. Allen Cadwallader, "Motivic Unity and Integration of Structural Levels in Brahms's B minor Intermezzo, Op. 119, No. 1," Theory and Practice 8/2 (1983): 5-24
52. Felix Salzer, Structural Hearing: Tonal Coherence in Music (New York: Charles Boni, 1952; reprint, New York: Dover Publications, 1962)
53. Allen Forte and Steven E. Gilbert, Introduction to Schenkerian Analysis (New York: Norton, 1982), 215, 227-28
54. Harald Krebs, "Alternatives to Monotonality in Early Nineteenth-Century Music," Journal of Music Theory 25/1 (1981): 1-16
55. The Masterwork in Music, Volume I, 1-22, 106-17
56. Johannes Tinctoris, The Art of Counterpoint, trans. and ed. Albert Seay (American Institute of Musicology, 1961)
57. Steven E. Gilbert, "Gershwin's Art of Counterpoint," The Musical Quarterly 70/4 (1984): 423
58. Steven E. Gilbert, The Music of Gershwin (New Haven: Yale University Press, 1995)
59. Monroe C. Beardsley, Aesthetics: Problems in the Philosophy of Criticism (New York: Harcourt, Brace, and World, 1958)
60. Ethan Haimo, "Atonality, Analysis, and the Intentional Fallacy," Music Theory Spectrum 18/2 (1996): 167-99
61. Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music (Cambridge, Mass.: MIT Press, 1983)
62. Peter Westergaard, An Introduction to Tonal Theory (New York: Norton, 1975)
63. Steve Larson, "Strict Use of Analytic Notation," Journal of Music Theory Pedagogy 10 (1996): 31-71
64. Steve Larson, "Another Look at Schenker's Counterpoint," Indiana Theory Review 15/1 (1994): 35-52
65. Martin Williams, "Homage to Bill Evans," in booklet accompanying Bill Evans: the Complete Riverside Recordings (Fantasy, Riverside R-018)
66. Rudolf Arnheim, Entropy and Art: an Essay on Order and Disorder (Berkeley: University of California Press, 1971)
67. idem, Art and Visual Perception: a Psychology of the Creative Eye (Berkeley: University of California Press, 1974)