102 research outputs found
Lonnie Liston Smith: An Oral History
No full textLonnie Liston Smith is an American pianist and keyboard player from Richmond, Virginia, born in 1940. He earned a bachelor’s degree in Music Education and an honorary doctorate from Morgan State University and has performed with Betty Carter, Art Blakey, and Miles Davis. His original music with the Cosmic Echoes has influenced the genres of smooth jazz, jazz funk, acid jazz, and hip hop. Scott Gray Douglass is a bassist and teacher also from Richmond, born in 1984. He is writing a book based on the oral histories of Richmond’s jazz musician educators. The two spoke by telephone in September of 2021. The following conversation is edited for clarity. Footnotes are provided by the co-author for context
Starting with the ABC and HR of It: A Conversation on the State of Jazz Education with Five Renowned Jazz Educators
No full textThe author sits down with five renowned jazz educators--Jamey Aebersold, David Baker, Dan Haerle, Rufus Reid, and Jerry Coker--for an enlightening conversation about the state of jazz education
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
Psychoacoustic Foundations of Contextual Harmonic Stability in Jazz Piano Voicings
No full textWhile many written sources on tonal jazz harmony are implicitly aware of the fundamental differences between "stable" and "unstable" chords, little significant work has examined an improvising jazz pianist's harmonic options in terms of stability, or "consonance." For this article the author focuses on the vertical dimensions of this issue, providing a "harmonic dialects" model that accounts for variants in chordal membership of stable sonorities, and an outline of psychoacoustic phenomena that affect how various piano voicings are interpreted as stable or unstable in different contexts
Journal of Jazz Studies. Volume 7, Number 2 (Archival Information Package)
No full textWhile many written sources on tonal jazz harmony are implicitly aware of the fundamental differences between "stable" and "unstable" chords, little significant work has examined an improvising jazz pianist's harmonic options in terms of stability, or "consonance." For this article the author focuses on the vertical dimensions of this issue, providing a "harmonic dialects" model that accounts for variants in chordal membership of stable sonorities, and an outline of psychoacoustic phenomena that affect how various piano voicings are interpreted as stable or unstable in different contexts. This resource is archived and is not available for public use. The publicly accessible version is available at http://jjs.libraries.rutgers.edu/index.php/jjs/issue/view/2Binary format, Base64 in XML wrapper, native OJS import format -- README file -- [Articles] Psychoacoustic Foundations of Contextual Harmonic Stability in Jazz Piano Voicings / McGowan, J. -- The Miles Davis Nonet Manuscripts Lost and Found: From Manuscript to Publication / Sultanof, J. -- [Book Reviews] Unlocking the Mysteries of the Second Miles Davis Quintet / Bierman, B. -- [Bibliography] Jazz Research Bibliography (2007–2008) / McGowan, J
The Miles Davis Nonet Manuscripts Lost and Found: From Manuscript to Publication
No full textIn 2002 the author published Birth of the Cool, a folio of the Miles Davis nonet repertoire of 1948 to 1950, based on the original manuscripts. This article gives a brief history of the nonet and its music; describes how the manuscripts turned up and how the folio came to be published; presents listings of the most salient editorial changes made to the parts in preparing the folio, as well as corrections that should be made to the folio; and shares new information about this repertoire that has come to light since the folio's publication. Finally, the article presents the author's philosophical and practical approach to preparing accurate versions of jazz and popular ensemble music
"Harlem Air Shaft": A True Programmatic Composition?
No full textIn 1944, Duke Ellington told a writer from The New Yorker that his composition “Harlem Air Shaft,” recorded four years earlier, was inspired by the myriad sounds heard in the air shaft of a Harlem apartment building (“You hear fights, you smell dinner, you hear people making love…”). Many scholars have contended that Ellington invented this “storyline” after the composition was written. This article addresses the authenticity of “Harlem Air Shaft” as programmatic music. The author finds ample evidence—from unpublished manuscripts, unissued radio broadcasts, analysis of arranging devices and compositional design, and other Ellington testimony—that Ellington did indeed have the sounds and smells of a Harlem air shaft in mind as he wrote the composition
MEASUREMENT ACCURACY OF INTELLIGENT DIFFERENTIAL PRESSURE TRANSMITTERS
No full text[[fileno]]2010101010012[[department]]物理
The "real effect" for thermo-equilibrium Ca isotope fractionation with temperature variation
No full text[[fileno]]2010101010040[[department]]物理
A NOTE ON THE PRESSURE DROP IN MODIFIED IN-SITU OIL SHALE RETORTS
No full text[[abstract]]Pressure drops observed in two field pilot tests of modified in-situ oil shale retorting are reported briefly in this note. Two problems are discussed: the broad distribution of particle sizes in an in-situ rubble bed and the decrease of rubble permeability during a retort run. The field data tend to support a recently reported observation that the Ergun equation is inadequate to predict the pressure drop in a retorting oil shale rubble.[[fileno]]2010101010006[[department]]物理
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