LEADER 00860nam0 22002291i 450 001 UON00221058 005 20231205103414.921 100 $a20030730d1929 |0itac50 ba 101 $acze 102 $aCZ 105 $a|||| ||||| 200 1 $aHovory s Otokarem Brezinou$fGisa Picková Saudková 210 $av Praze$cKnihy Mánesa$d1929. 437 p. ; 19 cm. 606 $aBREZINA OTAKAR$3UONC047019$2FI 676 $a891.86$cLetteratura ceca$v21 700 1$aPICKOVA-SAUDKOVA$bGisa$3UONV133953$0685267 801 $aIT$bSOL$c20240220$gRICA 899 $aSIBA - SISTEMA BIBLIOTECARIO DI ATENEO$2UONSI 912 $aUON00221058 950 $aSIBA - SISTEMA BIBLIOTECARIO DI ATENEO$dSI CECO C 0018 $eSI RU 5004/10 5 0018 996 $aHovory s Otokarem Brezinou$91267757 997 $aUNIOR LEADER 06750nam 2200649Ia 450 001 996248201503316 005 20220105192156.0 010 $a0-226-04380-0 010 $a1-282-53870-5 010 $a9786612538704 010 $a0-226-04452-1 024 7 $a10.7208/9780226044521 035 $a(CKB)2520000000006447 035 $a(SSID)ssj0000429697 035 $a(PQKBManifestationID)12140419 035 $a(PQKBTitleCode)TC0000429697 035 $a(PQKBWorkID)10449692 035 $a(PQKB)10705675 035 $a(MiAaPQ)EBC3038253 035 $a(DE-B1597)575528 035 $a(DE-B1597)9780226044521 035 $a(OCoLC)1248759249 035 $a(dli)HEB05916 035 $a(MiU)MIU01000000000000009800595 035 $a(EXLCZ)992520000000006447 100 $a19930907d1994 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aThinking in jazz $ethe infinite art of improvisation /$fPaul F. Berliner 210 $aChicago $cUniversity of Chicago Press$d1994 215 $axix, 883 p. $cill 225 1 $aChicago studies in ethnomusicology 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-226-04381-9 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tContents --$tList of Figures --$tList of Music Texts --$tAcknowledgments --$tIntroduction: Picking Notes out of Thin Air? Improvisation and Its Study --$tPART I Initial Preparations for Jazz --$tChapter One Love at First Sound: Early Musical Environment --$tChapter Two Hangin' Out and Jammin': The Jazz Community as an Educational System --$tPART II Cultivating the Soloist's Skills --$tChapter Three A Very Structured Thing: Jazz Compositions as Vehicles for Improvisation --$tChapter Four Getting Your Vocabulary Straight: Learning Models for Solo Formulation --$tChapter Five Seeing Out a Bit: Expanding upon Early Influences --$tChapter Six The More Ways You Have of Thinking: Conventional Rhythmic and Theoretical Improvisation Approaches --$tChapter Seven Conversing with the Piece: Initial Routines Applying Improvisation Approaches to Form --$tChapter Eight Composing in the Moment: The Inner Dialogue and the Tale --$tChapter Nine Improvisation and Precomposition: The Eternal Cycle --$tChapter Ten The Never-ending State of Getting There: Soloing Ability, Ideals, and Evaluations --$tPART III Collective Aspects of Improvisation --$tChapter Eleven Arranging Pieces: Decisions in Rehearsal --$tChapter Twelve Adding to Arrangements: Conventions Guiding the Rhythm Section --$tChapter Thirteen Give and Take: The Collective Conversation and Musical Journey --$tChapter Fourteen When the Music's Happening and When It's Not: Evaluating Group Performances --$tChapter Fifteen The Lives of Bands: Conflict Resolution and Artistic Development --$tPART IV Additional Factors Affecting Improvisation, and Epilogue --$tChapter Sixteen Vibes and Venues: Interacting with Different Audiences in Different Settings --$tEpilogue: Jazz as a Way of Life --$tPART V Music Texts --$tAppendix A: House Congressional Resolution 57 --$tAppendix B: List of Artists Interviewed --$tSources --$tNotes --$tDiscography --$tVideography --$tBibliography --$tIndex 330 $aA landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea. The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker. Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators. Berliner explores the alternative ways-aural, visual, kinetic, verbal, emotional, theoretical, associative-in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike. 410 0$aChicago studies in ethnomusicology. 606 $aJazz$xHistory and criticism 606 $aImprovisation (Music) 606 $aJazz musicians$vInterviews 610 $ajazz, improvisation, creativity, music, ethnomusicology, musicology, trumpet, miles davis, coltrane, performance, composition, bands, venues, rhythm section, rehearsal, precomposition, community, charlie parker, coleman hawkins, dizzy gillespie, betty carter, vea williams, carmen lundy, red rodney, wynton marsalis, art farmer, doc cheatham, curtis fuller, james moody, lee konitz, lou donaldson, barry harris, tommy flanagan, emily remler, akira tana, ronald shannon jackson, max roach, rufus reid, george duvivier, nonfiction, analysis. 615 0$aJazz$xHistory and criticism. 615 0$aImprovisation (Music) 615 0$aJazz musicians 676 $a781.65/136 700 $aBerliner$b Paul$0445605 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a996248201503316 996 $aThinking in jazz$92353926 997 $aUNISA