Journal of Jazz Studies (JJS)
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An Approach to Phrase Rhythm in Jazz
No full textIn jazz improvisation, the meter of the original theme is strictly preserved, and the middleground harmonies are maintained, while the original melody is varied freely, especially with respect to its grouping structure—where phrases begin and end. This poses problems for theories of phrase rhythm that rely on a tonal definition of the phrase. In this paper, I propose a new approach to jazz phrase rhythm. First, I divide a melody into segments on the basis of four criteria. Then I classify each segment on the basis of its relationship to the meter and to surrounding segments. The result is a hierarchy of metrically defined phrases. Phrase rhythm consonance and dissonance are the alignment or misalignment of phrases with the meter. Skilled soloists manipulate phrase rhythm as they would any other element of a solo. I conclude with an ambiguous example, to demonstrate how phrase-rhythm analysis can present competing interpretations of the same passage
Note from the Editors
No full textThe editors of the Journal of Jazz Studies welcome new managing editor, Jeff McMillan, and thank former managing editor, Evan Spring, for his years of dedicated service
Jazz Research Bibliography (2005–2006)
No full textThis bibliography compiles articles of interest in jazz music scholarship that were published in 2005 or 2006 and appeared in journals not specifically dedicated to jazz study
Letter from the Editors
No full textThe editors of the Journal of Jazz Studies explain their rationale for converting their print journal, the Annual Review of Jazz Studies, into a free, open-access, online publication. Open access makes the journal universally accessible, and offers other technological advantages. Unpaid scholarly work belongs in the public realm, and the open-access movement has made steady progress in the world of academia
Monk Trio: A Sequence of Sonnets
No full textPoet Mark Haywood presents three sonnets that explore the life and music of Thelonious Monk, the great jazz pianist and composer
More Than Just Guide Tones: Steve Larson's Analyzing Jazz—A Schenkerian Approach
No full textHenry Martin, a composer, music theorist, professor of music at Rutgers University–Newark, and co-editor of the Journal of Jazz Studies, contributes a review-essay about Steve Larson’s recent book, Analyzing Jazz: A Schenkerian Approach (Pendragon Press, 2009)
Jazz Portraits: 2000–2010
No full textMusicians featured in this collection of Ed Berger's photographs include Eric Alexander, Geri Allen, Billy Bang, Eddie Bert, Ray Bryant, Candido, Ron Carter, Marc Cary, Dave Douglas, Kurt Elling, Ned Goold, Wycliffe Gordon, Henry Grimes, Chico Hamilton, Roy Hargrove, Barry Harris, Jon Hendricks, Fred Hersch, Ingrid Jensen, Howard Johnson, Kidd Jordan, Teo Macero, Russell Malone, Branford Marsalis, Christian McBride, Grachan Moncur III, Paul Motian, Nicki Parrott, Les Paul, Jeremy Pelt, Houston Person, Riza Printup, Dizzy Reece, Eric Reed, Sam Rivers, Scott Robinson, Fred Staton, George Wein, Frank Wess, Joe Wilder, and Jackie Williams
The Development of Diminutions in American Jazz
No full textAllen Forte, the prominent Yale music theorist, delivered this previously unpublished lecture in Germany in 1958. In “Forte’s Lecture on Jazz: An Introduction” (included elsewhere in this issue), Benjamin Givan states that this lecture is “the earliest known analytical study of jazz by a professional music theorist.” The lecture applies Schenkerian concepts of “diminution technique” to jazz improvisations from early blues to bebop, including recordings by Bessie Smith, Louis Armstrong, Lester Young, Charlie Parker, and the Modern Jazz Quartet. As Forte explains, “By diminution technique is meant the melodic means (as distinct from, say, the rhythmic or chordal means) by which a given basic tonal structure is varied so as to expand or prolong its content.” Several notated examples are provided, as well as an appendix of recordings referenced
Out of the Ordinary: Andrew Hill's "Verona Rag"
No full textIn 1986, the adventurous and accomplished jazz pianist Andrew Hill (1937–2007) presented his composition “Verona Rag,” based loosely within the traditional ragtime idiom. Through close analysis of Hill’s studio recording, the author explains how this composition is “an exemplary illustration of Hill’s ability to extend and transform a bygone style and place his indelible mark upon it.” Background on Hill’s career and influences is provided, and an appendix includes a complete transcription of the piece
Forte's Lecture on Jazz: An Introduction
No full textThis article provides background on Allen Forte’s 1958 lecture, “The Development of Diminutions in American Jazz,” which is published for the first time in this issue of the Journal of Jazz Studies. Topics include the context in which the lecture was delivered; the lecture’s place in the history of jazz theory and analysis; and the career of Forte, one of the nation’s most prominent music theorists, including his little-known ties to the jazz world