Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz. Page: VIII
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LIST OF MUSICAL EXAMPLES
Page
1.1 Excerpt from Lee Morgan's solo on "The Sidewinder" (1:50).............................. 14
1.2 Excerpt from Lee Morgan's solo on "The Sidewinder" (2:oo00) ..............................15
1.3 Excerpt from Lee Morgan's solo on "The Sidewinder" (3:02) ..............................15
2.1 Excerpt from Joe Sample's solo on "Eleanor Rigby" (2:35).................................. 47
2.2 Excerpt from Joe Sample's solo on "Eleanor Rigby" (4:00oo) ................................ 47
2.3 Excerpt of "Goin' out of my Head"........................................................................ 59
2.4 Excerpt of "Goin' out of my Head"........................................................................ 59
2.5 Excerpt of "Goin' out of my Head"........................................................................ 59
2.6 Excerpt of "Goin' out of my Head"........................................................................ 6o
2.7 Excerpt of "Goin' out of my Head"........................................................................ 6o
2.8 Orchestral accompaniment to "Goin' out of my Head" (:3o)............................... 62
2.9 Orchestral accompaniment to "Goin' out of my Head" (:4o)............................... 63
2.10 Orchestral accompaniment to "Goin' out of my Head" (1:o9) ............................. 63
2.11 Wes Montgomery's solo on "Goin' out of my Head" (1:4o) ................................. 64
3.1 Opening bass ostinato to "Inner City Blues" ........................................................ 72
3.2 Introduction to "Mister Magic"........................................................................ 75
3.3 Opening phrase of "Mister Magic" (:25) ............................................................ 76
3.4 Excerpt from "M ister M agic" (:35) ........................................................................ 77
3.5 Excerpt from "Mister Magic" (:4o)....................................................................... 77
3.6 Grover Washington's use of call and response (4:45)-...........................................78
3.7 Grover Washington's use of call and response (5:14)-.........................................79
3.8 Grover Washington's use of melodic guide tones (2:35)....... ................... 82
3.9 Grover Washington's use of melodic guide tones (2:35)....... ................... 82viii
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West, Aaron J. Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz., dissertation, December 2008; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc9722/m1/10/: accessed April 18, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .