Style and the Improvised in Keith Jarrett's Solo Concerts

Elsdon, Peter

doi:10.1080/17494060801949000

Cited by 2 publications

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“…artist in PiJAMA-30. The lowest scoring artist is Keith Jarrett, which quantitatively supports the analysis by Elsdon (2001), where he frequently comments on the predominantly diatonic style of Jarrett's improvisation:…”

Section: Chromaticismsupporting

confidence: 64%

PiJAMA: Piano Jazz with Automatic MIDI Annotations

Edwards,

Dixon,

Benetos

2023

Transactions of the International Society for Music Information Retrieval

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Recent advances in automatic piano transcription have enabled large scale analysis of piano music in the symbolic domain. However, the research has largely focused on classical piano music. We present PiJAMA (Piano Jazz with Automatic MIDI Annotations): a dataset of over 200 hours of solo jazz piano performances with automatically transcribed MIDI. In total there are 2,777 unique performances by 120 different pianists across 244 recorded albums. The dataset contains a mixture of studio recordings and live performances. We use automatic audio tagging to identify applause, spoken introductions, and other non-piano audio to facilitate downstream music information retrieval tasks. We explore descriptive statistics of the MIDI data, including pitch histograms and chromaticism. We then demonstrate two experimental benchmarks on the data: performer identification and generative modeling. The dataset, including a link to the associated source code is available at https://almostimplemented.github.io/PiJAMA/.

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Section: Chromaticismsupporting

confidence: 64%

PiJAMA: Piano Jazz with Automatic MIDI Annotations

Edwards,

Dixon,

Benetos

2023

Transactions of the International Society for Music Information Retrieval

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“…Musical task-related facial tensions and grimaces-'face-making'-as described here in concert pianists 2 also occur in other musicians, for example, classical string players, jazz pianists and Indian classical performers. Elsdon 22 studied the jazz pianist Keith Jarrett and suggested that his head shakes and twitches seemed to be acted out melodies. Jarrett himself explained this as: 'Anybody in their right mind would try to find an outlet some-where, so you know, like, if something's really happening, the passion just takes over'.…”

Section: Discussionmentioning

confidence: 99%

Face-making: task-specific facial tensions and grimacing in musicians

Lees¹,

Swash

2019

J Neurol Neurosurg Psychiatry

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I have been told that my facial expressions while playing are quite pronounced, and numerous audience members have asked me what in the world I am saying to myself as I play. In the act of practicing or performing, I am totally unconscious of any of this: I had to be asked and told, and to watch myself on video, to realise it was happening. It really does look as if I'm having a lively conversation with myself. Curtis Lindsay, pianist: blog at Quora.com. 11 June 2015 At a piano recital in a London concert hall, MS, seated on the right side of the auditorium, fairly far forward, was able to view the face and upper body of the pianist across the top of the Steinway concert grand piano. The performer, as usual, was seated right side-on to the audience. The performance, of a difficult programme that included works from the 18th and 20th centuries, was exceptional, technically near-perfect, emotionally expressive, with brilliance in tonality and colour. However, it was marred by the pianist's florid, distracting facial movements, evident throughout the performance, even during a closing encore. Here, we consider the nosology of these performance-associated extraneous facial movements. The Facial Mannerisms: 'Face-Making' During the performance the pianist displayed brief pursing movements of the lips, intermittent furrowing of the brow, forceful lateral and twisting movements of mouth and face, snarling expressions, a minor degree of tongue protrusion, darting eye movements to both sides, head retraction, elevation of the shoulders, forceful intakes of breath and, less frequently, a maintained posture of leaning backward away from the keyboard. The pianist's legs seemed unaffected. There were no associated vocalisations. The facial movements appeared during every piece of music, commencing at the onset of each piece, but not evident before or immediately after the performance. During the performer's walk across the stage towards the pianoforte, when standing to receive tumultuous applause, or when leaving the stage, there were no facial mannerisms or inappropriate gestures. The pianist was an early career professional, already much admired. An internet search for biographical details revealed no evidence of declared neuropsychiatric disorder.

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Style and the Improvised in Keith Jarrett's Solo Concerts

Cited by 2 publications

References 0 publications

PiJAMA: Piano Jazz with Automatic MIDI Annotations

PiJAMA: Piano Jazz with Automatic MIDI Annotations

Face-making: task-specific facial tensions and grimacing in musicians

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