Parker, Charlie - Donna Lee v1

Jazz harmony today is explained in terms of relations between scales and chords. This is done so that the improviser can know what available notes he/she has at his/her disposal when improvising over a given chord. Though this method explains the construction of chords from a diatonic scale and provides semi-adequate pitch groups that will fit over a sounding chord, it does not begin to explain anything about harmonic analysis or the intricacies of harmony itself. The relationship between chords and scales is left purely to the recognition of the chord symbol i.e. Xmin7 is always Dorian, in a form of mechanical isolated recipe that takes no consideration of the context in which it appears. In the following thesis I intend to propose a different view that may facilitate the way jazz harmony is analysed and understood. Central to my hypothesis is the suggestion that a fundamental octatonic system of organization forms the basis of a coherent explanation of harmony. This principle is extrapolated from theories of acoustic phenomena and early tonal behaviour. The goal is to offer a unifying theory that may account for all tonal harmony, in its traditional practice, as well as embrace modern concepts in a coherent logical manner. In order to validate the theoretical claims made above the second part of this thesis deals with the historical exploration of jazz harmony, from its nineteenth century influences up to modern usage. A short sample of soloists is also provided as support of the theoretical model and its application to the world of improvisation. Besides finding a coherent form that may explain jazz harmony, this system has also proven to be an efficient tool for music education. Furthermore, it potentially paves the way for future developments in jazz and tonal harmony.

Teoria de el Jazz 1, 2010

Es un libro

Jazz has steadily evolved from its inception in the late 19th century to the present. As is the case for other genres, musicological analytic research on jazz evolution has lagged behind its practice; consequently, there is a paucity of in-depth descriptive and analytic research on the music of recent innovators. Among the most recent examples of this evolution, the works of Brad Mehldau as a solo/ensemble pianist and as a composer arguably embody some of the most compelling innovations in the field. Non-academically oriented jazz writers and fans have consistently assigned these works vanguard status, but Mehldau’s output has not yet been sufficiently examined to prescribe performance methods. This exegesis contains (1) descriptive analysis of improvisation contained within a broad cross-section of Mehldau’s music; (2) definition of a new analytical lexicon derived from a holistic study of consonance, dissonance, and research into perceived motivation in music; and (3) prescriptive musical tools relating to consonance and dissonance that have informed the researcher’s performance.

A polynomial function is a type of mathematical function that is built from variables (usually denoted as "x") and constants, combined using addition, subtraction, and multiplication, but not division by a variable.

"Arabic Pasts: Histories and Historiography", 3-4 October 2024, Aga Khan University, London.

Taylor & Francis Group, LLC, 2016

DESIGN OF WELDED STEEL STRUCTURES PRINCIPLES AND PRACTICE

2018

Hermann von Helmholtz’s geometrical papers (1868–1878) have been typically deemed to provide an implicitly group-theoretical analysis of space, as articulated later by Felix Klein, Sophus Lie, and Henri Poincaré. However, there is less agreement as to what properties exactly in such a view would pertain to space, as opposed to abstract mathematical structures, on the one hand, and empirical contents, on the other. According to Moritz Schlick, the puzzle can be resolved only by clearly distinguishing the empirical qualities of spatial perception from those describable in terms of axiomatic geometry. This paper offers a partial defense of the group-theoretical reading of Helmholtz along the lines of Ernst Cassirer in the fourth volume of The Problem of Knowledge of 1940. In order to avoid the problem raised by Schlick, Cassirer relied on a Kantian view of space not so much as an object of geometry, but as a precondition for the possibility of measurement. Although the concept of group does not provide a description of space, the modern way to articulate the concept of space in terms of transformation groups reveals something about the structure and the transformation of spatial concepts in mathematical and natural sciences.

2008

A partir del trabajo del ILSB se aporta a una mirada para la construcción del liderazgo de mujeres en partidos políticos