"Bemsha Swing": The transformation of a Bebop classic to free jazz

Music Theory Spectrum

Volumn 19, Issue 2, 1997, Pages 206-231

  Block, Steven ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61049134037     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.2307/745754     Document Type: Review

References (16)

1. Paul O. W. Tanner, David W. Megill, and Maurice Gerow, Jazz, 7th ed. (Dubuque: Wm. C. Brown, 1992), 131.
2. Ekkehard Jost, Free Jazz (Vienna: Universal Editions, 1974), 11.
3. "Pitch-Class Transformation in Free Jazz" (Music Theory Spectrum 12 [1990]: 181-202
4. Mark Gridley "During the late 1950s, Taylor based his improvisations on tunes and chord changes and employed conventional hard bop bassists and drummers" (Jazz Styles, 3rd ed. [Englewood Cliffs: Prentice Hall, 1988], 237).
5. John Litweiler (The Freedom Principle [New York: Da Capo Press, 1984], 203.
6. Cecil Taylor, "In Transition" [Blue Note, BN-LA458-H2]).
7. Daniel Starr, "Sets, Invariance, and Partitions," Journal of Music Theory 22 (1978): 1-42,
8. Robert Morris, Composition with Pitch-Classes: A Theory of Compositional Design (New Haven: Yale University Press, 1987).
9. Henry J. Martin, "Jazz Harmony," Annual Review of Jazz Studies 4 (1988): 9-30
10. Robert Morris John Rahn's Basic Atonal Theory in Music Theory Spectrum 4 (1982): 152-54.
11. Henry J. Martin, "Jazz Harmony" (Ph.D. diss., Princeton University, 1980), 15-21.
12. David Lewin chapter 2 of Musical Form and Transformation: 4 Analytic Essays (New Haven: Yale University Press, 1993), 53-67.
13. A. B. Spellman Four Lives in the Bebop Business, 3rd ed. (New York: Limelight Editions, 1985), 38.
14. Monson, Ingrid, "Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology," Critical Inquiry 20 (1994): 309.
15. Tom Darter, "Piano Giants of Jazz: Cecil Taylor," Contemporary Keyboard (1981): 56.
16. Paul Berliner, Thinking In Jazz (Chicago: University of Chicago Press, 1994), 122,