Jazz Education

TVÅ SIDOR AV SAMMA MYNT? Tabell 2. Söktryck efter namn på folkhögskolan, Ht 2009 Folk-Antal Antal N Profiler Söktryck St. d högskola sökande platser(medelvärden) Fridhem 450 25 1 Jazz 18, 0 Skurup 340 20 1 Jazz 17, 0 Billströmska 230 20 1 Blandad 11.5 Furuboda ...

Gillespie y Pozo fusionaron el Jazz y la música cubana. Mario Bauza, Machito y Graciela crearon el Cubop o Latin Jazz, el antecedente directo de la SALSA. Historia del Jazz. Parte XLIX
https://salsaconcausa.blogspot.com/2019/05/gillespie-y-pozo-fusionaron-el-jazz-y.html

Jimmie Blanton (1918-1942), best known for his tenure with Duke Ellington between 1939 and 1941, is by many considered to be one of the most influential bassists in jazz history. He has been widely studied, resulting in a paradigmatic depiction of his life and music. But a closer look reveals that all studies on Blanton focus on a single year, from November 1939 and November 1940, of his six-year career as a performer. Thus, a paradox is born. While many believe to profoundly understand Blanton’s music through the writings that abound, many of its aspects remain ‘hidden’, and only a partial and unnuanced narrative of this musician surfaces. Using 1941, Blanton’s final year with Ellington, as a case study, I will unravel the reasons, several of which are extra-musical, behind this period’s omission and detail its far-reaching consequences, which continue to pervade literature on the bassist to this day.

“Ellingtonian” Jimmie Blanton (1918-1942) is no doubt one of the most influential bassists in jazz history. His legacy lives on to this very day, with for example John Clayton being inspired by Ray Brown, who in turn was directly influenced by Blanton. But despite this far-reaching influence most bass methods, history books, and teachers only focus on part of his rich legacy: his solo innovations. Creative and educational as these solos may be, this focus leaves his equally imaginative accompaniments (walking bass, two-beat, ballad style, etc.) virtually unexplored. In this lecture I will introduce some “lost lessons” that can be learned from Blanton, even for today’s bassists. In the first part I will highlight several innovations of his comping style, some of which even foreshadowed Scott LaFaro’s revolutionary style of twenty years later. In the second part I will focus on some “non-musical” aspects, such as his right hand posture, and its influence on sound projection and timbre. As such I will reveal some “new” sides of a bassist you thought you knew, and demonstrate today’s practical relevancy of Blanton’s enduring legacy. As a bonus, this session is filled with unique photos and never-before-heard tracks of Blanton and his contemporaries.
!!! EXTRA: This presentation will include the ONLY KNOWN FILM FOOTAGE of Jimmie Blanton performing, shown in public for the very first time. Special thanks to Mark Cantor for his permission to show this clip !!!

Music performance anxiety (MPA) is common among musicians, and varying levels of MPA inevitably occur in performances. The causes of MPA are difficult to define due to different factors in diverse musicians. Minimal research has been conducted on the causes of MPA and its effect on improvising subjects, specifically percussionists. The following dissertation draws together improvisation and MPA through an analysis of the causes of MPA in improvisational contexts. A proposition of six constraints (tradition, style, performer, instrument, environment and time) was devised by the author through research in existing literature on psychological constraints in improvisation. The ‘six constraints’ were analysed in improvisational contexts as possible causes of MPA. Research originated from personal observations in practice, rehearsals and performances, and was recorded in a reflective journal. Classical and jazz tertiary undergraduate percussionists were also surveyed, which calculated their MPA levels through the Kenny-Music Performance Anxiety Inventory (K-MPAI). A selection of six diverse percussionists (three jazz and three classical) were interviewed and compared to autoethnographic data. Findings suggested that three factors of personal background, perception of the six constraints, and MPA acknowledgement and management had positive and negative effects to MPA levels. These concepts correlated with cognitive processing, and therefore revealed that the musician’s perception affected MPA levels and not the effect of the improvisational context. Further research also found positive factors assisting MPA alleviation, including improvisation and identifying cognitive distortions. The project addresses the importance of MPA, health, and performance psychology in future artistic research to assist creativity and expression.

At the same time, a significant body of research literature addressing jazz improvisation has been developing over the last couple of decades. This work includes topics on jazz storytelling [5], including references on the concept by well known jazz musicians and scholars. Some [6] introduce the concept of re-telling to refer to the re-working of a standard, based on a famous recording of a master, stressing the important tension between individual voice and tradition. Others [7] explore machine learning of jazz grammars, using basic building-blocks or “slopes,” touching upon the antitheses of abstraction versus vocabulary, and attempting to codify harmonic tension. A relevant work that focused on Sonny Rollins’s thematic improvisation [8] will be explored further, below. Weimar’s Jazzomat Research Project [9] has produced several databases of annotated solos and licks, including the “Dig That Lick” database. Studies on the use of patterns in jazz [10], [11], have stressed the impor...

This paper examines specific musical elements of Clifford Brown’s improvised solo on “Hot House”, from the recording “Live at the Bee Hive". Solos from live recordings, such as this one, give a window into the history and existence of the art of extended improvisation from an era before such solos were being documented in studio sessions. Clifford Brown used the extended format to develop musical ideas and display a variety of techniques which add coherence and interest over this longer time frame.
Citing examples from the score, I have discussed and detailed his use of the following features:
1. Thematic Development and the Variety of Techniques Used to Achieve It 2. Rhythmic Tendencies and Contrasts
3. Phrasing Structure and Pacing
4. Melodic Construction and Intervallic Shapes
5. Harmonic Approach
6. Trumpet-Specific Instrumental Devices
In addition, I have mentioned other aspects of this solo which I consider to be important, and have described them with detailed analysis.

This paper is an analysis of Brad Mehldau's solo on the Charlie Parker/Dizzy Gillespie composition "Anthropology," itself based on George Gershwin's "I Got Rhythm." The focus is on devices deployed by Mehldau to break free form the traditional harmonic underpinning of "rhythm changes."

(English) This essay proposes future directions in jazz pedagogy research by tracing the unique social and community aspects surrounding and fostering the work of the ABCs (Jamey Aebersold, David Baker, and Jerry Coker) in the 1960s, their impact on the international growth of jazz as a field of academic study, and a discussion of critical voices and responses from leaders in the field. A new view of the narrative of jazz education based on revisiting history as an organic composite of social, cultural, economic trends rather than the traditional linear progression of singular events and personas is suggested as a result of the analysis. Abstract (Deutsch) Der Beitrag beschäftigt sich mit zukünftigen Richtungen der Jazzpädagogik. Grund-lage ist eine Analyse der sozialen und kulturellen Aspekte im Umfeld der ABCs (Jamey Aebersold, David Baker und Jerry Coker) in den 1960er-Jahren und des Ein-flusses ihrer Arbeit auf die internationale Ausbreitung von Jazzstudienprogrammen sowie eine Diskussion von kritischen Standpunkten in der heutigen Jazzpädagogik. Als Ergebnis wird eine neue Perspektive der Jazzpädagogik vorgeschlagen, die im Gegensatz zur traditionellen linearen Sichtweise auf einzelne Personen und Ere-ignisse auf der Gesamtheit der sozialen, kulturellen und wirtschaftlichen Tendenzen der Jazzgeschichte aufbaut.

This is from the album The Very Tall Band: Live At The Blue Note, a recording from 1998. Oscar Peterson also composed this ballad which, unlike the daunting virtuosity required by most of his playing, is merely of moderate difficulty. The music with the transcription can be heard here: https://www.youtube.com/watch?v=TdbPOIOKPPE&frags=pl%2Cwn

ENGLISH:
The aim of the exercises presented in this study is to train ii–V–I chord progression, which is the most basic chord progression in jazz, with the addition of diatonic and chromatic tensions through sequences in major keys. The tensions have been notated with red colored noteheads throughout the study.

In the education of jazz, it is a very common method to transpose a particular chord progression a whole step down until returning back to the starting point after six transpositions. In so doing, one goes through the steps of a descending whole-tone scale, each of which referring to a key centre (for example: C, Bb, Ab, Gb, E, D). After completing the circle, the same process is repeated a half step up. This method is also used in the present study. 

Although all segments of the sequences are written out throughout this study, it is not recommended to play them by reading the notes. The aim of the practice should always be to transpose the pattern without looking at the notes. The notes can be used afterwards to check the own solution.
---------------------
DEUTSCH:
Das Ziel der in dieser Studie präsentierten Übungen ist, die Akkordfolge ii–V–I, welche die grundlegendste Akkordfolge im Jazz ist, mit den hinzufügten Farbtönen (Optionen, tensions) durch Sequenzen in Durtonarten zu trainieren. Die Farbtönen wurden in allen Übungen mit den rot gefärbten Notenköpfen notiert.

In der Ausbildung für den Jazz ist es eine sehr verbreitete Methode, eine bestimmte Akkordfolge um einen Ganzton abwärts zu transponieren, bis man nach sechs Transpositionen zum Ausgangspunkt zurückkommt. Auf diese Weise geht man durch die Töne einer absteigenden Ganztonleiter, wobei jeder Ton der Tonleiter eine Tonalität vertritt (zum Beispiel: C, B, As, Ges, E, D). Nachdem der Kreis geschlossen wird, wiederholt man denselben Lauf um einen halben Ton höher. Auch in der vorliegenden Studie wird diese Methode angewendet.

Obwohl alle Abschnitte der Sequenzen in der ganzen Studie ausnotiert sind, ist es nicht empfohlen, sie mit den Noten zu spielen. Das Ziel des Übens sollte immer sein, das Muster zu transponieren, ohne auf die Noten zu schauen. Danach können die Noten benutzt werden, um die eigene Lösung zu prüfen.

This, recorded in 1940, is Tatum at his most relaxed. His phenomenal technique belies the effortlessness of his performance, on a par with his "Sweet Lorraine" of the same year.  His ability to stretch 10ths in the left hand, even apart from the virtuosity, make playing it impossible for ordinary mortals,  but the transcription enables his harmonic inventiveness to be appreciated. You can listen to the original with the transcription here: https://youtu.be/Qt5f3x7VwrY

The score of the 2 ½ hour “magnum opus“ named “Epitaph”  was reconstructed 10 years after Charles Mingus’ death in 1979. Most of the movements were probably composed in the late 1950s. As the finale was missing, Gunther Schuller, the conductor of the world premiere in 1989, decided to improvise one with the orchestra, using Mingus as a guide. The aim of this paper is to analyze “Main Score Part I ” and “Main Score Part II” and to look into the score of Mingus’ reconstructed compositions under particular observation of the new finale, “Main Score Reprise”. There, Mingus left instructions for a return to the opening section of “Epitaph“. By examining “Epitaph” in the historical context of Jazz between 1955 to 1967 and the 1980s and comparing the finale of “Epitaph“, created - or better said: improvised - by the musicians of the 1989 world premiere with the opening section, at first it will be interesting to discover at which point Gunther Schuller followed Mingus creative process and brought it to life in 1989. Finally, it will be speculated if Charles Mingus composition still represents a foresight of Jazz nearly 30 years after its creation.
Index Terms: Epitaph, Charles Mingus, Gunter Schuller, Jazz reception, Bebop, Hardbop, Duke Ellington, Black, Brown and Beige, African-American music, Free-Jazz

This academic article presents the perspectives on the production of creative music research for social services in Thailand by providing examples of projects and research topics both academic and profession. The outputs of those are pieces of creative music research which involving integration, interpretation of the conceptual production, and extension of research results; as well as presenting the utilization of creative music research in various forms. The importance of social services from research on creative music and the challenges of producing creative music research for serving the Thai society in the future are demonstrated.

Another Hank Jones improvisation, this time from his classic album with Charlie Haden, "Steal Away".  Very different from Bill Evans's rendering of the same tune, this is Hank Jones at his most laid-back. You can listen to the original with the transcription here: https://youtu.be/1StE0-g2Vus

Garota de Ipanema (The Girl From Ipanema nella versione in inglese, su testo di Norman Gimbel) è una canzone composta nel 1962 da Vinícius de Moraes e Antônio Carlos Jobim ed è probabilmente, con Samba de Uma Nota Só, il brano di bossa nova più noto e più eseguito al mondo.

Esta monografia trata acerca de algumas possibilidades na interpretação da canção popular brasileira. O trabalho visa proporcionar uma compreensão mais aprofundada sobre recursos empregados por cantores na execução de uma composição musical, envolvendo uma abordagem analítica sobre a interpretação e a canção brasileira. São apresentadas descrições exemplificadas sobre alguns recursos interpretativos; e uma análise motívica da canção Só Danço Samba (Tom Jobim e Vinícius de Moraes), gravada pela cantora Rosa Passos.

Storytelling is an age-old tradition that is found in every culture. Stories capture the essence of the morals, attitudes and world views through the characteristics of the characters in the story, the story arc and the moral resolution of the story. Stories are told to pass down information from the older generation to the younger generations. Stories were told and retold as primary ways of retaining cultural information in the days of past before the advent of written language. Stories later became codified through the medium of written language and commercialized through theatre and moving pictures.  This book is accordingly entitled Sonic Storytelling. In this book, we look at how stories are told using musical tones and rhythms, instead of words. I especially anchor sonic storytelling within the context of jazz because it is only in jazz that one finds the express intellectual effort to tell stories through song. Jazz has a story. Jazz tells a story. With every reharmonization, jazzers are changing the context of the story. With every improvisation, jazzers are plotting a new story arc for the main character(s). Let’s create our own sonic stories. Let’s learn how to reharmonize and improvise. There is a method to the jazz madness.

En este libro, al igual que Ximo Tébar en sus grandes producciones,  se han orquestado varios elementos: recortes y  noticias de prensa, reseñas discográficas,  partituras  y abundantes fotografías, conforman un todo que dibuja al personaje y a la persona en esta celebración de su 25 aniversario discográfico.  De la misma manera que un estándar jazzístico, el texto se divide en tres partes. En la amplia primera parte se desenvuelve la investigación discográfica a través de todos los materiales compartidos, que harán las delicias del lector melómano. La segunda parte incluye análisis musicales de las partituras más significativas del músico que clarificaran estos aspectos relevantes al lector más especializado, y por último, es el propio Ximo Tébar quien en primera persona nos aclara todas estas pesquisas en la entrevista más humana y sincera que probablemente haya concedido, en donde a través de las memorias y vivencias del músico podemos vislumbrar una significativa parte del último cuarto de siglo de la reciente historia del jazz valenciano.

This article examines music auditions in jazz education and the artistic valuation of music performances by gatekeepers working in two prestigious schools. Using the inherent insecurities of the entry-test situation as a site of ethnographic fieldwork, the article explores the whole chain of valuation needed in order to produce a hierarchical ordinal ranking of the candidates. By drawing attention to the distinction between what is being said and what is being done by the gatekeepers, a structural ambiguity is identified in the selection game: on the one hand, it is dependent on romantic notions of artistic uniqueness (originality, personality, authenticity) and on the other, it relies on the requirements of jurisdiction and equal assessment (numerical grading, standardized repertoire). The artistic doxa of jazz is constituted in opposition to two negative characters, either by framing the candidates as epigones – echoing the standard repertoire too closely – or framing them as heretics, considered as traitors to the local interpretation of the standard.

El propósito de esta investigación fue abordar el proceso educativo utilizado en el programa CEMIJAZZ (Centro de Educación Integral Musical Integral a través del Jazz), que funcionó en la ciudad de Xalapa, Veracruz del 2012 hasta el 2015. El programa CEMIJAZZ se fundamentaba en la propuesta de una pedagogía humanamente compatible, con la idea de que los miembros de una sociedad crean relaciones significativas al involucrarse y participar activamente de un ritual como es la música e implementaba prácticas pedagógicas que los músicos populares utilizan con regularidad; buscaba tener un impacto social en su contexto y se organizaba a partir de los modelos de escuela diferente y teoría del caos en la educación.
Realicé entrevistas a 12 participantes del programa: 5 profesores, 4 ex estudiantes del programa y 3 padres de estos estudiantes. A partir de las entrevistas pude determinar siete categorías que exponen cómo fue el proceso educativo en el programa: imitación a través del canto, enculturación, el repertorio como eje central del aprendizaje, aprendizaje entre pares, educación activa y contextualizada, impacto social, educación humanamente compatible y ésta contrastada con la educación humanamente compatible.

This is a solo track from the trio album Bluesette from 1979, but as usual, Hank Jones is even better performing on his own - apart from, perhaps, "Steal Away" his duo CD with Charlie Haden, from which I'll upload a transcription of  "Danny Boy" some time. Playing it is difficult if, like me, you can't span the left hand 10ths. You can listen to the original with the pdf here: https://youtu.be/WE0F9fXE_3U.

This catalog of melodic and harmonic materials found in Yusef Lateef’s "Repository of Scales and Melodic Patterns" is meant as a study guide for practical and academic use.

I have listed only the materials Lateef employed as general headings and source material for the text’s many etudes and harmonic studies. I hope that this paper stimulates further inquiry into this text in particular and in Lateef's creative output in general.

This is not an analytical paper and analysis has been kept to a minimum used solely for the purpose to aid in the general understanding of the materials and how they are used within the text . This catalog could be used both with the original text and without when the original text is not practically available.

Thomas Scott McGill
6.27.16

I first heard Tommy Flanagan play this, an Ellington composition,  in 1983 in Los Angeles, and waited impatiently for a recording. The long wait was well worth it - the recording is every bit as wonderful as my memory served. Although played in a trio setting, it makes a good solo piece as transcribed.
You can view the transcription and listen to the original here: https://www.youtube.com/watch?v=RRePN5W5F-o

Several of Jelly Roll Morton's 1920s piano rolls are among the greatest musical creations to come from an American composer. They are important because in terms of musical infrastructure — the notes and rhythms — they largely represent what Morton actually sat down and played.  This conclusion can be drawn by comparing them to Morton’s phonograph recordings, particularly those from the same time period in which his rolls were made.  However, as was standard for pop piano rolls of the era, the subtle expressive details — dynamics and tempo variation — that characterize all human performance were extracted in the roll manufacturing process. The fact that Morton had made these extraordinary piano roll renditions from which his unique performance style had been extracted was troubling. How then, could we return to his piano roll renditions the characteristic expressivity of Morton’s live performance? Using his contemporaneous 78 rpm phonograph recordings and new computer technologies that became available in the 1990s, this paper details the method we developed to return Morton's uniquely expressive performance style to his piano rolls.

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.

El origen del jazz y del flamenco es una cuestión que aún está por determinar, aunque hay diversas teorías respecto al tema y cada vez más bibliografía, pero no es el objetivo de este trabajo, por lo tanto, aunque se analizarán algunas similitudes y diferencias entre los dos géneros desde su origen, el desarrollo se centrará principalmente en los grandes hitos discográficos que han aportado una sonoridad de fusión entre ambos estilos.

For the purposes of this paper I have selected 1 composition from Rosenwinkel's album "The Enemies of Energy" to analyze under the lens of a post-bop observer, in that I will be examining those selections for techniques of postbop composition, including but not limited to:

-expanded forms
-enhanced options for harmonic progression
-phrase groupings that depart from conventional 4-and 8-bar frameworks
-axis progressions
-harmonies that progress in locally functional ways, but within compositions in which a single tonic is uncertain
-the absence or suppression of functional harmonic progressions and/or use of alternative cadential progressions
-common structure progressions, sometimes using stepwise motion in the bass
-bass pedal points beneath shifting harmonies
-characteristic harmonies, such as sus chords and slash chords, along with harmonies characteristic of earlier styles
-harmonic rhythm with chord changes every half-measure, measure, or every two measures
-transformative aspects of harmonic progressions and harmonic/melodic interplay

I will also add that within the post-bop era we see unique freedoms enacted in respect to form and improvisation. We often find ambiguity and circularity in regard to form, usually created by any of the aforementioned elements and/or their combinations. We also find the improvisational component to diverge from the written material, whether it be alternate changes, alternate meter/hyper-meter, alternate form, absence of form, or other manipulations in regard to the improvisational sections’ divergence from the written material. This Rosenwinkel composition exhibits all of these characteristics.

This paper contains insights gleaned from my analyses of four performances of James P. Johnson's classic composition "Carolina Shout." The performers are Johnson, Fats Waller, Stanley Cowell and Jason Moran. Historical and biographical information are provided for background, but the bulk of the paper consists of musical analysis and examples related to my transcriptions of the four recordings.

This project investigates the aural and musicianship skills of students enrolled in a Bachelor of Jazz Studies Course, with the ultimate goal of improving their improvisation skills. At the core of the project is the idea that students consolidate their theoretical knowledge and link it with their aural skills when they use their voices in an ensemble, rather than relying on their instrumental skills. Participating students were surveyed to gain insight into their thoughts about the effect that the musicianship skills gained during class had on their improvisation skills. Data has been gathered regarding methods of ear training in current use in various jazz schools in Australia as well as surveying current theories of the importance of ear training in jazz education and the extant modes of delivery. Throughout the project repertoire was arranged especially for each group in accordance with the desired learning outcomes. The final result of the project is a syllabus for conducting the course, which is known as A Cappella Ear Training, including excerpts from the author’s arrangements and instructions for delivering the course content.

This thesis examines the complex sociocultural dynamics that surround the concept of jazz theory from two broad perspectives: formalized or academic jazz theory, which emerged as a result of the formal institutionalization of jazz in the academy, and organic or intrinsic jazz theory, which first arose from African American music-making practices. This dichotomy does not suggest that the majority of jazz community members exist at the extremes of either of these two poles. Contrarily, most musicians tend to occupy the grey area somewhere in between. The aim of this study was to shed light on the complex and elusive intersection between formalized and organic approaches to jazz theory. Through an analysis of informal, formal, and virtual (internet-based) jazz music-learning environments, the results offer a thick description of the way in which notions of "jazz theory" affected the social lives of musicians, fostered racialized jazz identities, defined community boundaries, and influenced music-making practices.

The paper includes a variety of case studies, such as Miles Davis' experience studying music at Julliard, an analysis of the first methodological theory books published for jazz students and educators, online forums where jazz students discuss music theory, and ethnographic data related to modern day jazz theory that I collected from nonacademic and academic jazz learning environments. Two theory-related books examined included George Russell's Lydian Chromatic Concept and David Baker's Jazz Pedagogy: A Comprehensive Method of Jazz Education for Teacher and Student. In both, the cultural contexts in which the works were created and how many students and educators misinterpreted or omitted elements that reflect the tabooed subject of race were considered. The study also relied on original ethnographic content collected during a field study at a Jamey Aebersold Summer Jazz Workshop, a racially charged debate between two Aebersold camp attendees, a meeting with saxophonist Ornette Coleman, an interview with a 51-year-old African American jazz drummer and organic jazz theorist named Willie Smart, and a reflection on my experiences with an autodidactic African American saxophonist from Cincinnati, Ohio named Chuck Young.

Overall, the paper elucidates the racialized and transcultural nature of the jazz community's music-learning environments, and examines the role in which jazz theory plays within them. Academic jazz educators may use insights from this essay to create curricula that include an increased cultural and racial competency as well as a greater awareness of approaches to jazz that are traditionally excluded. Jazz musicians, music historians, and jazz fans may benefit from the analysis of jazz theory as a social process.

La dialéctica entre escuelas de música clásica y jazz es un tema ya antiguo; que por otro lado necesitaría de una revisión histórica a la vista de la incorporación de los estudios superiores de jazz en el conservatorio de Valencia, puesto que ambas corrientes se desenvuelven de un modo paralelo mirándose aún con recelo.
En la segunda mitad del s. XX Gunther Schuller acuñó el término third stream para definir una nueva estética a medio camino entre el jazz y la música clásica contemporánea, que desde principios del s. XXI se está arraigando con fuerza en el panorama actual del jazz valenciano. Desde los trabajos con ensembles de cuerdas de Daniel Flors y David Pastor, el acercamiento al jazz del quinteto de metales Spanish Brass Luur Metalls, las recreaciones de la obra de compositores impresionistas por parte de Ximo Tébar y del Daniel Picazo, Diego de Lera, Felipe Cucciardi Trío, la inclusión de nuevas plantillas orquestales a los ensembles de jazz por parte de Albert Sanz y su  Russafa Ensemble, la eclosión de la obra sinfónica de Jesús Santandreu netamente third stream, la fusión de la música tradicional valenciana con el jazz de Ramón Cardo y el jazz coral de gran formato de Perico Sambeat, el jazz valenciano, como síntoma de modernidad,  está tomando un nuevo rumbo que reivindica un nuevo estatus al mismo nivel que la música clásica de concierto.
La conclusión principal del presente trabajo trata de recalcar el evidente acercamiento de nuestro jazz local a la música clásica contemporánea en esta primera década del s. XXI como síntoma de modernidad: un acercamiento que coincide históricamente con la incorporación de los estudios superiores de jazz en el conservatorio de Valencia.

This paper will examine Arnold Schönberg’s influence on modern jazz through the teachings of one of its most respected theorists and pedagogues Dennis Sandole, mentor to John Coltrane, James Moody, Art Farmer, Randy Brecker, Jim Hall, Rufus Harley, Pat Martino, and many other important jazz artists.

Through the analysis of musical examples, this paper proposes that important conceptual links exist between some of Schönberg’s key compositional concepts and Sandole’s pedagogical literature and practice which would go on to influence John Coltrane and many other jazz practitioners for decades to follow helping to solidify Schönbergian ideas and concepts within the syntax of modern jazz. Schönberg’s utilisation of various segmentation schemes such as trichords, tetrachords and hexachords, use of interval cycles particularly that of interval cycle 4 or major thirds, and the compositional practice of stating the complete chromatic collection within a relatively short musical space have provided jazz practitioners such as Sandole and Coltrane with a new conceptual framework for employing the total chromatic harmonically and melodically in modern jazz practice.

Debate over origin and authenticity aside, the musical language of jazz is today spoken and understood amongst a diversity of communities the world over. Standard repertoire, evolved formal structures, and aesthetic tenets provide a lingua franca supported by discourses on historical narrative, ‘state of the nation’, and the future of jazz amongst the genre’s interconnected scenes.
It is widely accepted that jazz was initially forged in the multi-cultural crucible of its birthplace – in a fusion of the inter-continental musical practices and disciplines of its originators. Where there is nothing to suggest that jazz was consciously constructed as a musical ‘auxiliary language’, inclusive of cultural difference and universal in message, there are nonetheless parallels with developments in linguistics of that time.
The germination period of jazz coincides with the first World Congress of Esperanto in 1905 and follows just a short time after the 1889 Paris convention of Volapük. Zamenhof (Esperanto) and Schleyer (Volapük) individually constructed their universal oral and textual languages from assorted European linguistic stems. In contrast, jazz can be observed to have emerged and developed as a democratically defined cultural medium, although equally a sum of diverse constituents.
It is a tragic irony that aspirations for cultural tolerance and cross-border understanding as embodied by Volapük and Esperanto so narrowly preceded the two great wars of the 20th Century – and unsurprising that, by virtue of its wartime associations with both imperialism and liberation, interpretations of the cultural functions of jazz have become increasingly complex. Where Esperanto and Volapük fell by the wayside in the wake of the rise of National Socialism, jazz music rode the wave of the globalised marketplace to become a truly world music.
This performance-based presentation will investigate the application of language based speech pattern to rhythmic phrasing and melodic shaping in musical improvisation. By contrasting spoken phrases in a variety of
2
languages and dialects, a basis for rhythmic and tonal improvisation will be arrived at that demonstrates the significance of the musician’s ‘native tongue(s)’ in musical gesture.
Taking referential starting-points from Steve Reich’s use of sampled speech and the spoken word manipulations of pianist Henry Hey, this paper will be presented through the use of pre-recorded speech and live electronic looping of guitar.