An Approach to Phrase Rhythm in Jazz

Love, Stefan Caris

doi:10.14713/jjs.v8i1.35

Cited by 6 publications

(3 citation statements)

References 4 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Penggunaan disonansi dalam impro visasi jazz menunjukkan pentingnya ending yang memiliki stabilitas tonal untuk mele paskan tension akibat disonansi tersebut (Doffman, 2011;Love, 2012;Wahl & El lingson, 2018). Beben berpendapat bahwa kecenderungan tersebut memang selaras dengan fitrah manusia, yang pada akhirnya selalu mendambakan kebaikan.…”

Section: Gambar 4 Circle Of Fifths/fourthsunclassified

Dialektika Riset Akuntansi Dalam Perspektif Jazz

Ichsan

Purwanti

2021

jamal

View full text Add to dashboard Cite

Abstrak -Dialektika Riset Akuntansi dalam Perspektif JazzTujuan Utama -Artikel ini berupaya menunjukkan potensi musik jazz sebagai metodologi dalam riset akuntansi. Metode -Penelitian ini menggunakan metode deskriptif kualitatif de ngan pengumpulan data melalui dokumentasi dan wawancara. Seorang musisi sekaligus praktisi jazz dan penulis buku metodologi riset akun tansi menjadi informan penelitian ini. Temuan Utama -Penelitian menunjukkan bahwa musik jazz dapat diabstraksi dan diturunkan menjadi metodologi melalui penggunaan metafora yang dibagi menjadi tiga elemen kunci yaitu proses, dimensi, dan tujuan. Metodologi musik jazz (MMJ) dapat digunakan pada ranah riset akuntansi emansipatoris untuk mengonstruksi konsep akuntansi yang mengedepankan keberagaman dan mendorong keunikan. Selain itu MMJ memiliki nilai spiritual dan pendekatan yang holistik. Implikasi Teori dan Kebijakan -Implementasi MMJ menempatkan manusia sebagai makhluk yang senantiasa mendambakan keindahan hakiki dalam bentuk keadilan dan keseimbangan. Jazz dapat dipahami sebagai sebuah cara pandang terhadap berbagai realitas kehidupan ter masuk akuntansi. Kebaruan Penelitian -Penelitian ini melihat diskursus akuntansi melalui perspektif musik.

show abstract

Section: Gambar 4 Circle Of Fifths/fourthsunclassified

Dialektika Riset Akuntansi Dalam Perspektif Jazz

Ichsan

Purwanti

2021

jamal

View full text Add to dashboard Cite

show abstract

“…Most famously, this involves short melodic segments that recur from solo to solo—“formulas” (Kenny, 1999; Norgaard, 2014; Owens, 1974; Smith, 1983). But it also involves a variety of other correspondences across choruses of a solo or across performances of a theme (Givan, 2014; Gross, 2011; Love, 2012; Michaelsen, 2013, pp. 87–114).…”

Section: An Ecological Description Of Jazz Improvisationmentioning

confidence: 99%

An ecological description of jazz improvisation.

Love¹

2017

Psychomusicology: Music, Mind, and Brain

View full text Add to dashboard Cite

This paper builds on writings in psychology and philosophy to offer an “ecological” description of jazz improvisation. The description is grounded in the analogy of navigation through a complex environment, an environment that comprises the harmonic and metrical scheme on which the improvisation is based coupled with broader stylistic norms. The improvising soloist perceives this environment in terms of its “affordances,” that is, the possibilities for action that it offers (Gibson, 1979). While navigating the improvisational environment, the soloist also seeks opportunities for artistic display—motivic development, conspicuous risk-taking, and so on. Errors in improvisation reflect the soloist’s misperception of the environment’s affordances. Learning to improvise is a matter of refining perception through repeated experiences of improvisational success and failure. To bring the description to life, I offer evidence from an exploratory study of improvisational errors. The ecological description leads to new interpretations of the referent (the conceptual frame for a solo), improvisational learning and memory, and temporal coordination between soloist and ensemble. It counterbalances the prevailing computational view of improvisation, oriented around input, processing, and output.

show abstract

“…Using the definitions developed by Love (2012), we selected segments from our music compositions. Love considers the segment to be the smallest unit of music phrasing.…”

Section: Musicmentioning

confidence: 99%

Rhythm in the Speech and Music of Jazz and Riddim Musicians

Carpenter

Levitt

2016

Music Perception

View full text Add to dashboard Cite

Previous research has demonstrated similarities in the rhythmic characteristics of the speech and instrumental music within individual languages, such as French or English, but clear differences in these rhythmic patterns between languages. A recent finding has shown a comparable result for the rhythmic patterns of the spontaneous speech and instrumental music of musicians who speak different dialects of English, such that within-dialect speech and music rhythms are more similar to one another than are across-dialect rhythms. We extend the latter finding by comparing the rhythmic characteristics of the spontaneous speech and jazz productions of jazz musicians who speak American English with those of the spontaneous speech and riddim productions of Jamaican musicians, who speak Jamaican English. We found that the speech and music rhythmic patterns were similar within each dialect but different across dialects. Though scholars have suggested a link between speech prosody and jazz in the past, this is the first study known to us to demonstrate a link between the rhythmic properties of the speech and music of jazz musicians.

show abstract

An Approach to Phrase Rhythm in Jazz

Cited by 6 publications

References 4 publications

Dialektika Riset Akuntansi Dalam Perspektif Jazz

Dialektika Riset Akuntansi Dalam Perspektif Jazz

An ecological description of jazz improvisation.

Rhythm in the Speech and Music of Jazz and Riddim Musicians

Contact Info

Product

Resources

About