Informationen zum Autor Paul F. Berliner is the Arts and Sciences Distinguished Emeritus Professor of Music at Duke University in North Carolina. He is the author of several books, including The Art of Mbira and Mbira's Restless Dance , also published by the University of Chicago Press. Klappentext A 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. Zusammenfassung Explores how musicians! both individually and collectively! learn to improvise. Chronicling musicians from their first encounters with jazz to the development of a unique improvisatory voice! Berliner demonstrates that a lifetime of preparation lies behind the skilled improviser's every note.

Autorentext

Paul F. Berliner is professor of ethnomusicology at Northwestern University. He is the author of The Soul of Mbira, also published by the University of Chicago Press, and is the recipient of an ASCAP-Deems Taylor award for outstanding writing in music.

Klappentext

A 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.

Zusammenfassung
Explores how musicians, both individually and collectively, learn to improvise. Chronicling musicians from their first encounters with jazz to the development of a unique improvisatory voice, Berliner demonstrates that a lifetime of preparation lies behind the skilled improviser's every note.

Inhalt
List of Figures List of Music Texts Acknowledgments Introduction: Picking Notes out of Thin Air? Improvisation and Its Study Ch. 1: Love at First Sound: Early Musical Environment Ch. 2: Hangin' Out and Jammin': The Jazz Community as an Educational System Ch. 3: A Very Structured Thing: Jazz Compositions as Vehicles for Improvisation Ch. 4: Getting Your Vocabulary Straight: Learning Models for Solo Formulation Ch. 5: Seeing Out a Bit: Expanding upon Early Influences Ch. 6: The More Ways You Have of Thinking: Conventional Rhythmic and Theoretical Improvisation Approaches Ch. 7: Conversing with the Piece: Initial Routines Applying Improvisation Approaches to Form Ch. 8: Composing in the Moment: The Inner Dialogue and the Tale Ch. 9: Improvisation and Precomposition: The Eternal Cycle Ch. 10: The Never-ending State of Getting There: Soloing Ability, Ideals, and Evaluations Ch. 11: Arranging Pieces: Decisions in Rehearsal Ch. 12: Adding to Arrangements: Conventions Guiding the Rhythm Section Ch. 13: Give and Take: The Collective Conversation and Musical Journey Ch. 14: When the Music's Happening and When It's Not: Evaluating Group Performances Ch. 15: The Lives of Bands: Conflict Resolution and Artistic Development Ch. 16: Vibes and Venues: Interacting with Different Audiences in Different Settings Epilogue: Jazz as a Way of Life Music Texts Appendix A: House Congressional Resolution 57 Appendix B: List of Artists Interviewed Sources Notes Discography Videography Bibliography