Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz.

Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz.

Date: December 2008
Creator: West, Aaron J.
Description: In Caught Between Jazz and Pop, I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception. Chapter 1 begins with an examination of current misconceptions about the origins of smooth jazz. In many jazz histories, the origins of smooth jazz are defined as a product of the jazz-fusion era. I suggest that smooth jazz is a distinct jazz style that is not a direct outgrowth of any mainstream jazz style, but a hybrid of various popular and jazz styles. Chapters 2 through 4 contain eight case studies examining the performers of crossover jazz and smooth jazz. These performers have conceived and maintained distinct communicative connections between themselves and their audiences. In the following chapter, the unfair treatment of popular jazz styles is examined. Many early and influential jazz critics sought to elevate jazz to the status of art music by discrediting popular jazz styles. These critics used specific criteria and emphasized notions ...
Contributing Partner: UNT Libraries
Faculty Recital: 1999-04-18 David Joyner, piano and Maria Joyner, drums and Lynn Seaton, bass and Chris McGuire, tenor saxophone and clarinet

Faculty Recital: 1999-04-18 David Joyner, piano and Maria Joyner, drums and Lynn Seaton, bass and Chris McGuire, tenor saxophone and clarinet

Access: Use of this item is restricted to the UNT Community.
Date: April 18, 1999
Creator: Joyner, David; Joyner, Maria; Seaton, Lynn & McGuire, Chris
Description: A jazz faculty recital performed at the UNT College of Music Kenton Hall.
Contributing Partner: UNT Music Library
Individual Program List, November-December 1971

Individual Program List, November-December 1971

Date: 1971
Creator: Conover, Willis
Description: Hour-by-hour breakdown of music played on Music USA, November-December 1971.
Contributing Partner: UNT Music Library
Faculty Recital: 2012-09-16 - Dan Haerle & Friends

Faculty Recital: 2012-09-16 - Dan Haerle & Friends

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Date: September 16, 2012
Creator: Hearle, Dan
Description: A faculty and guest artist recital performed at Kenton Hall.
Contributing Partner: UNT Music Library
Faculty Recital: 1999-04-15 - The Zebras

Faculty Recital: 1999-04-15 - The Zebras

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Date: April 15, 1999
Creator: The Zebras
Description: A jazz faculty recital performed at the UNT College of Music Kenton Hall.
Contributing Partner: UNT Music Library
It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa

It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa

Date: December 2012
Creator: Govind, Arathi
Description: This thesis concerns the performance of identity in the music of Indian American jazz musicians Rudresh Mahanthappa and Vijay Iyer. In combining the use of Indian classical music elements with jazz, Iyer and Mahanthappa create music that is inextricably tied to their multifaceted identities. Traditional musicological analysis is juxtaposed with a theoretical framework that draws on postcolonial theory and the history of Asian immigrant populations to the U.S. I chronicle the interactions between Indian and Western music and link it to larger issues of Asian American identity formation and activism through music. Through interviews and transcriptions of studio recordings, I identify specific compositional and improvisational strategies of the musicians. I emphasize the role of individual agency in the formation of second-generation identities, drawing attention to the distinct ways that Iyer and Mahanthappa approach their music. Finally, I connect this research to a larger discourse on Indian American artistic identity.
Contributing Partner: UNT Libraries
Faculty Recital: 2012-02-15 - Fred Hamilton and John Murphy

Faculty Recital: 2012-02-15 - Fred Hamilton and John Murphy

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Date: February 15, 2012
Creator: Hamilton, Fred & Murphy, John
Description: A faculty jazz recital preformed at the UNT College of Music Keaton Hall.
Contributing Partner: UNT Music Library
An Analysis of Joe Lovano's Tenor Saxophone Improvisation on "Misterioso" by Thelonius Monk: An Exercise in Multi-Dimensional Thematicism

An Analysis of Joe Lovano's Tenor Saxophone Improvisation on "Misterioso" by Thelonius Monk: An Exercise in Multi-Dimensional Thematicism

Date: August 2003
Creator: Dahlke, Andrew Richard
Description: The dissertation focuses on Joe Lovano's utilization of thematic material in relation to "Misterioso" by Thelonius Monk. Thematicism is defined more broadly in this study to include reference to the form, phrase structure, and harmony of "Misterioso". Methodological models provided by Gary Potter, Henry Martin, and Paul Hindemith serve as points of departure for this study which focuses on four areas: 1) phrasing, 2) step progression, 3) motives and formulas, and 4) harmonic implications. Thematic relationships are discovered through the analysis of the transcription of Lovano's improvisation; the four levels of the analysis work together and also independent of one another to produce a kind of thematic counterpoint. This study also examines how Lovano creates an effective solo. The study will be of benefit to students, professional musicians, pedagogues, theorists, musicologists, and jazz aficionados.
Contributing Partner: UNT Libraries
One Long Tune: the Life and Music of Lenny Breau

One Long Tune: the Life and Music of Lenny Breau

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Date: May 15, 2006
Creator: Forbes-Roberts, Ron
Description: “Mr. Guitar” Chet Atkins called Lenny Breau (1941-1984) “the greatest guitarist who ever walked the face of the earth.” Breau began playing the instrument at age seven, and went on to master many styles, especially jazz. Between 1968 and 1983 he made a series of recordings that are among the most influential guitar albums of the century. Breau’s astonishing virtuosity influenced countless performers, but unfortunately it came at the expense of his personal relationships. Despite Breau’s fascinating life story and his musical importance, no full-length biography has been published until now. Forbes-Roberts has interviewed more than 175 people and closely analyzed Breau’s recordings to reveal an enormously gifted man and the inner workings of his music. “Lenny Breau was, and will always be, a great treasure. We need him today more than ever.” —Mundell Lowe
Contributing Partner: UNT Press