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E-grāmata: Charlie Parker, Composer

(Professor of Music, Rutgers University)
  • Formāts: 272 pages
  • Izdošanas datums: 16-Apr-2020
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780190923402
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  • Formāts: 272 pages
  • Izdošanas datums: 16-Apr-2020
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780190923402

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As a founding father of bebop and brilliant jazz improviser, Charlie Parker has secured a reputation and legacy second to none since his birth nearly 100 years ago. Because of his excellence as an improviser, however, his compositions - while admired and still played - have taken a back seat. In this exciting and timely new volume, author Henry Martin rebalances our understanding of Parker by spotlighting his significance as a jazz composer.

Beginning with a review of Parker's life and musical training, Charlie Parker, Composer critically analyzes Parker's compositions, situating them within both his individual musicianship and early bebop style. Proposing that Parker composed up to 84 pieces, Martin examines their development and aesthetic qualities, their similarities and dissimilarities within a range of seven types of jazz composition. Also discussed are eight tunes credited to Parker but never performed by him, along with an evaluation of where - if at all - they fit in his oeuvre. Providing the first assessment of a major jazz composer's output in its entirety, Charlie Parker, Composer offers a thorough reexamination, through music-theoretical, historical, and philosophical lenses, of one of the most influential jazz musicians of all time.

Recenzijas

Charlie Parker, Composer is filled with many insights and much recent published research that I was not aware of until now. Its dazzling achievement makes me forget how few other Parker publications appeared during his centennial year. I will be re-reading it in the coming years, too. * Edward Komara, Association for Recorded Sound Collections Journal * In the centenary year of Bird's birth, Martin adds a welcome, solid piece of musical scholarship. Highly recommended. Upper-division undergraduates through faculty; professionals. * J. Farrington, Eastman School of Music, CHOICE * Too little has been written on Charlie Parker the composer; Henry Martin's book brilliantly fills that need. * Carl Woideck, Senior Instructor, University of Oregon School of Music and Dance * This clearly organized and well-researched book ... represents a valuable contribution to analytical studies of Parker, which to date have focused mostly on his improvised solos rather than written-out compositions. This will undoubtedly prove to be a very useful reference for jazz scholars, and it would also work well in a course on jazz analysis or jazz composition. * Nicole Biamonte, Associate Professor of Music Research, McGill University * Encyclopedic in scope, scrupulously researched and brilliantly discussed, Professor Martin's magnum opus is a perfect gift on the occasion of the 100th anniversary of Charlie Parker's birth and an invaluable resource for many admirers of his compositional art. * Dariusz Terefenko, Eastman School of Music *

List of Examples and Tables
xi
Preface and Acknowledgments xvii
Introduction: Jazz Composition and Parker as Jazz Composer
1(34)
The Jazz Composition
1(21)
Improvisations Becoming Jazz Compositions
22(2)
Authoritative Recordings
24(3)
Creating a Chronological List of Parker Compositions
27(1)
Categorizing Parker Compositions
28(1)
Prior Studies and Analytical Approaches
29(6)
1 Music Background and Compositional Overview
35(20)
Early Experiences and Training in Music
35(7)
Early Compositions
42(1)
Roots of Bebop, Hines, Eckstine, and the Partnership with Gillespie
43(2)
Mature Compositional Career
45(4)
Unrecorded Compositions
49(6)
2 32-Bar Rhythm Changes Compositions
55(26)
5 Red Cross (1944)
55(5)
7 Shaw `Nuff (1945, co-composed with Dizzy Gillespie)'
60(4)
18 Moose the Mooche (1946)
64(4)
10 Thriving from a Riff (1945)
68(1)
26 Dexterity (1947)
68(1)
55 Passport (1949)
68(13)
3 Other 32-Bar AABA Compositions
81(38)
1 Yardbird Suite (1940--1941)
81(8)
16 Alesia(1945)
89(5)
9 Confirmation (1945)
94(9)
67 My Little Suede Shoes (1951)
103(11)
80 Throckmorton the Plumber (1954)
114(1)
84 Tail Feathers (1955?)
114(5)
4 32-Bar ABAC Compositions
119(22)
17 Ornithology (1945, co-composed with Benny Harris)
119(9)
22 Donna Lee (1947)
128(5)
36 Quasimodo (1947)
133(3)
51 Cardboard (1949)
136(5)
5 Through-Composed Blues in C
141(22)
21 Relaxin at Camarillo (1947)
141(5)
24 Cheryl (1947)
146(2)
27 Bongo Bop (1947)
148(1)
38 Bongo Beep (1947)
148(1)
47 Perhaps (1948)
148(3)
52 Visa (1949)
151(2)
54 Passport (1949)
153(2)
72 Back Home Blues (1951)
155(1)
75 Cosmic Rays (1952)
155(4)
77 Dum Dum (1954)
159(1)
82 Bongo Bird (1955?)
159(4)
6 Through-Composed Blues in Other Keys
163(32)
2 Wichita Blues (1940, co-composed with Jay McShann?)
163(1)
29 The Hymn (1947)
163(1)
31 Bird Feathers (1947)
164(1)
35 Big Foot (1947)
164(2)
57 Bloomdido (1950)
166(6)
59 Mohawk (1950)
172(1)
73 Laird Baird (1952)
173(2)
12 Billie's Bounce (1945)
175(4)
43 Barbados (1948)
179(2)
64 Au Privave (1951)
181(2)
69 Blues for Alice (1951)
183(1)
70 Si Si (1951)
183(5)
78 Half-Pass-Fass (1954)
188(1)
76 Chi Chi (1953)
189(3)
79 Yashitaki-Mikimoko (1954)
192(1)
83 Gerry Bird (1955?)
193(2)
7 32-Bar Compositions with A Section or Partial A Section
195(32)
19 Bird's Nest (1947)
195(1)
23 Chasm' the Bird (1947)
196(1)
44 Ah-Leu-Cha (1948)
196(3)
28 Dewey Square (1947)
199(1)
32 Klactoveesedstene (1947)
200(4)
33 Scrapple from the Apple (1947)
204(1)
48 Marmaduke (1948)
204(2)
34 The Bird (1947)
206(1)
37 Charlie's Wig (1947)
207(4)
45 Constellation (1948)
211(1)
49 Steeplechase (1948)
212(1)
53 Segment (1949)
213(2)
58 An Oscar for Treadwell (1950)
215(3)
63 Ballade (1950, co-composed with Coleman Hawkins)
218(1)
71 Swedish Schnapps (1951)
219(2)
74 Kim (1952)
221(2)
81 Tukki-Wukki (1954)
223(4)
8 Riff Blues
227(24)
3 Hootie Blues (1940--1941, co-composed with Jay McShann)
227(1)
4 The Jumpin' Blues (1941--1942, co-composed with Jay McShann)
228(2)
13 Now's the Time (1945)
230(5)
20 Cool Blues (1947)
235(2)
25 Buzzy (1947)
237(1)
39 Another Hair Do (1947)
238(1)
40 Bluebird (1947)
239(1)
56 Blues (Fast) (1950)
240(6)
66 K.C. Blues (1951)
246(1)
68 Happy Bird Blues (1951)
247(4)
9 Improvisational Frames with Composed Sections and Non-Standard Works
251(26)
6 M. 19C (1944--1945)
251(1)
8 The Famous Alto Break (1945)
252(4)
14 Meandering (1945)
256(1)
11 Warmin' Up a Riff (1945)
257(1)
15 Ko Ko (1945)
257(7)
30 Bird of Paradise (1947)
264(1)
41 Klaunstance (1947)
265(1)
42 Bird Gets the Worm (1947)
266(1)
46 Parker's Mood (1948)
266(4)
50 Merry-Go-Round (1948)
270(1)
60 Leap Frog (1950)
271(1)
61 Relaxin with Lee (1950)
271(1)
62 Celerity (1950)
272(1)
65 She Rote (1951)
273(4)
10 Summary and Assessment
277(40)
"Honeysuckle Rose" and Rhythm Changes
278(1)
The Tunes by Category, Contrafact, Key, and Primary Line
279(13)
Revisions and Adaptations
292(7)
On the Bandstand Calling the Tunes
299(5)
Quotation and Self-Quotation
304(1)
Interest in Twentieth-Century Concert Music
305(4)
Compositional Legacy
309(8)
Bibliography 317(7)
Discography 324(1)
Musical Example Credits 325(4)
Index 329
Henry Martin is Professor of Music at Rutgers University in Newark. He is a composer, music theorist, and pianist with a long list of compositions, articles, books, and performances. He is the author of Charlie Parker and Thematic Improvisation (1996), Counterpoint: A Species Approach Based on Schenker's Counterpoint (2005), and Jazz: The First 100 Years (co-authored with Keith Waters, 2014). His articles and reviews have appeared in Music Theory Spectrum, Journal of Music Theory, Perspectives of New Music, among many others.