The communication of musical expression: as exemplified in jazz performance

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dc.contributor.author White, Christopher K.
dc.date.accessioned 2010-01-11T16:14:30Z
dc.date.available 2010-01-11T16:14:30Z
dc.date.issued 2010-01-11T16:14:30Z
dc.identifier.uri http://hdl.handle.net/2097/2376
dc.description.abstract This qualitative study sought to inquire into, identify and examine elements of musical expression as exemplified in jazz performance from a phenomenological approach. The purpose was to identify the various elements utilized by expert performers and listeners in perceiving musical expression, to determine whether or not these elements are held in common between performer and listener, and to explore the relation of personal experiences of the phenomenon with aesthetic philosophy and educational practice. Aesthetic concepts were drawn from the writings of Stephen Davies and Peter Kivy while jazz principles and foundations were drawn from Ted Gioia and Gunther Schuller. Ten subjects, five world-class jazz artists and five nationally recognized jazz critics, were selected based upon reputation and professional standing and interviewed in naturalistic settings of their own choosing (home, office, studio). Each subject listened to six recordings of the jazz standard My Funny Valentine as recorded by established jazz icons: Miles Davis, Paul Desmond, Gerry Mulligan, Bill Evans with Jim Hall, Sarah Vaughan, and Keith Jarrett. All were encouraged to comment in a stream-of-consciousness manner while listening to the examples. Additionally, fifteen statements drawn from the literature were read for subjects to rate on a five-point Lykert scale ranging from “totally agree” to “totally disagree”. Interviews were transcribed and coded into themes. Lykert responses were analyzed within group using means and ranges and between groups utilizing difference of means. Results, as interpreted by this researcher, reflect seven themes identified by performers (Sound, Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation) and six themes enumerated by critics Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation). No attempt was made at stratification of themes, as this was exploratory research. While both groups used the concept of sound, context placed it under the concept of individuality for critics while performers used it more specifically towards the establishment of mood. Lykert responses confirmed strong similarity of thought between the two groups. en_US
dc.language.iso en_US en_US
dc.publisher Kansas State University en
dc.subject Jazz en_US
dc.subject Musical expression en_US
dc.subject Music education en_US
dc.subject My Funny Valentine en_US
dc.subject Phenomenology en_US
dc.subject Performers and critics en_US
dc.title The communication of musical expression: as exemplified in jazz performance en_US
dc.type Dissertation en_US
dc.description.degree Doctor of Philosophy en_US
dc.description.level Doctoral en_US
dc.description.department Curriculum and Instruction Programs en_US
dc.description.advisor Jana R. Fallin en_US
dc.subject.umi Education, Curriculum and Instruction (0727) en_US
dc.subject.umi Education, Music (0522) en_US
dc.subject.umi Music (0413) en_US
dc.date.published 2010 en_US
dc.date.graduationmonth May en_US


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