Beyond Borders. Broadening the Artistic Palette of (Composing) Improvisers in Jazz.
(2017)
author(s): Dick de Graaf
published in: Academy of Creative and Performing Arts
In this on-line dissertation, jazz saxophonist Dick de Graaf investigates a variety of compositional and improvisational models and techniques in contemporary jazz and Western art music, and discusses possible applications of these materials in current jazz practices. The study includes examinations of educational publications by five selected jazz artists (Dave Liebman, Jerry Bergonzi, George Garzone, Walt Weiskopf, and John O’Gallagher), and the analysis of compositional techniques by two composers of the 20th century: Peter Schat's Tone Clock and Olivier Messiaen's modes of limited transposition. In addition, these theories and techniques are illustrated by selected examples (transcriptions and audio excerpts) and by examples of applications by various musicians, including the author. All examples are thoroughly analyzed and evaluated in order to determine their potential use in contemporary jazz practices.
The research results provide comprehensive insights into compositional and improvisational processes in jazz, and offer materials that can be useful for the personal artistic development of jazz practitioners, including musicians, composers, and educators.
Olivier Messiaen sitt klangunivers
(2016)
author(s): Martha Berit Belt
published in: Research Catalogue
Ei utforskning av Olivier Messiaen sitt klangunivers, med utgangspunkt i preludiet "”Cloches d´angoisse et larmes d´adieu”.
Representing Birdsong in Messiaen's Organ Music [Representing Birdsong in Messiaens Organ Music - 2020-05-15 09:13]
(last edited: 2020)
author(s): J.P.T. Lanooy
This exposition is in progress and its share status is: visible to all.
Birdsong plays an important part within the complete oeuvre of Olivier Messiaen. In the majority of his works, he incorporated songs and calls of real-life birds. In this exposition, the accuracy of those bird incorporations is investigated through analyzing two birds of the 'Communion' of the 'Messe de la Pentecôte': the blackbird and nightingale, In other words, to what extent Messiaen's 'musical' birds correspond to their real-life counterparts? Besides, I have discussed how to represent those birds on a Dutch eighteenth-century organ and which compromises you have to make with regard to organ stops.