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.
