An analysis of completeness and historical accuracy in the most commonly used college jazz history texts

Historical accuracy is only one of the components of a scholarly college textbook used to teach the history of jazz music. Textbooks in this field should include accurate ethnic representation of the most important musical figures as jazz is considered the only original American art form. As college and universities celebrate diversity, it is important that jazz history be accurate and complete. ^ The purpose of this study was to examine the content of the most commonly used jazz history textbooks currently used at American colleges and universities. This qualitative study utilized grounded and textual analysis to explore the existence of ethnic representation in these texts. The methods used were modeled after the work of Kane and Selden each of whom conducted a content analysis focused on a limited field of study. This study is focused on key jazz artists and composers whose work was created in the periods of early jazz (1915-1930), swing (1930-1945) and modern jazz (1945-1960). ^ This study considered jazz notables within the texts in terms of ethnic representation, authors' use of language, contributions to the jazz canon, and place in the standard jazz repertoire. Appropriate historical sections of the selected texts were reviewed and coded using predetermined rubrics. Data were then aggregated into categories and then analyzed according to the character assigned to the key jazz personalities noted in the text as well as the comparative standing afforded each personality. ^ The results of this study demonstrate that particular key African-American jazz artists and composers occupy a significant place in these texts while other significant individuals representing other ethnic groups are consistently overlooked. This finding suggests that while America and the world celebrates the quality of the product of American jazz as great musically and significant socially, many ethnic contributors are not mentioned with the result being a less than complete picture of the evolution of this American art form. ^

Afro-Cuban Jazz and Beyond

This flyer promotes the event "Afro-Cuban Jazz and Beyond" cosponsored by the FIU School of Music, the Cuban Research Institute, 88.9FM WDNA, and the Cuban-American Student Organization.

La Batería: Jazz and the Drum Set in Cuba, Lecture by Matthew R. Berger

This flyer promotes the event "La Batería: Jazz and the Drum Set in Cuba, Lecture by Matthew R. Berger" cosponsored byt FIU's Latin American and Caribbean Center and the Green Library at FIU.

The bass as a melodic voice in jazz : extended program notes for thesis recital

This thesis discusses the use of the bass as a melodic instrument in jazz. It focuses on seven compositions performed for a Master's recital on March 22, 2010. For each selection, I provide a brief biography of the composer, information about the song and insight on performance practice. I examine the advanced techniques pioneered by innovative bassists and explore ways in which they can be used to further exploit the melodic potential of the bass in a jazz context. A compact disc recording of the recital is included.

Nico Assumpção and jazz bass improvisation

The purpose of this thesis was to investigate Nico Assumpção. He has not received the interest and recognition of the American jazz audience, despite having recorded and performed with some of the greatest jazz musicians in the world. Four works were transcribed and analyzed in detail with respect to the following issues and elements: rhythmic conception, bass techniques and melodic and harmonic characteristics. Observations were made and trends examined in his music as well as his improvisational style, which illustrates his stylistic significance. Results show that Nico Assumpção is indeed representative of the Jazz Fusion and Latin Jazz styles, despite his low profile in jazz literature. This is seen in his electric bass playing through his use of Brazilian and other Latin elements in conjunction with a jazz vocabulary. This is exemplified through the transcriptions and analysis of his works.

Jazz band arranging : original big band arrangements

This paper examines five big band arrangements written during a period of two semesters from 1998-1999. I will provide an overview and performance considerations for each arrangement. Each arrangement uses common conventions such as unison lines, octave doubling, four and five part voicings, found in closed, semi-open, and open position. Approach techniques include diatonic, dominant, diminished, chromatic, and parallel. Choice was based primarily on two considerations: desired texture and the best voice leading options identified to provide each part with a swinging line and maintain melodic integrity. Other conventions applied include chord substitution, upper structure triads, and altered and diminished scales to provide harmonic contrast and color. Each arrangement supplied new challenges and the tunes selected provided the arranger with a diverse experience of styles. The inherent qualities of the melody and harmonic progression of each piece were the primary considerations for selection.

Colombian Jazz dance suite : a synthesis of the music of the colombian andes and modern jazz

This thesis is an attempt to unite two distinct and dissimilar musical genres, the music of the Colombian Andes and modem jazz. The compositions to be analyzed in this thesis are meant to function as parts of a whole. Thus, they will be linked by thematic and rhythmic material. In their entirety the pieces will form a suite of dances not unlike those of Baroque composers, with titles that denote the name of the particular air being employed by the composer, who is also the author of this thesis. These individual dances are orchestrated for a jazz ensemble consisting of piano, string bass, drums, alto saxophone, and guitar. The rhythmic underpinning of this work is inspired by the folk music of Colombia and the harmonic content will be derived from the jazz idiom. The purpose of this thesis is to demonstrate the possible product of the fusion of musical disciplines that are on the surface in no way related. This thesis will also attempt to show an example of how cultures can meld socio-artistically.

Florida International University Fall December 14,2010 Commencement Pre-Ceremony Session 6

Florida International University Commencement Ceremony December 14,2010 at US Century Bank Arena (Session 6) Graduates and their guests wait for the ceremony to begin as photos of the graduates during their time at FIU scroll through the screen.Additionally, a jazz duo plays for the attendees.

The design, implementation and production process of creating a viable series of Latin shows in Hollywood, Florida

The purpose of this research was to design and implement a Series of Latin Shows to be featured at the Satine Restaurant located in The Diplomat Hotel in Hollywood, Florida. Three shows were created: "Electro Tango," "Bossa Nova Jazz," and "Piel Canela Night" to help generate interest for not only the Satine Restaurant but also for the surrounding area. The artistic concept included big bands, costumes, dancers and a DJ. A production book was created and included the most important aspects of the individual shows such as budgets, costumes, and ground plans, to assure the success of each event. Careful analysis was done for the demographic area and a marketing plan was designed and implemented. The research and practical application of similar shows in the industry determined that the production of these particular shows, although costly, have a qualifiable chance to succeed in this venue.

An in-depth analysis of original compositions

The purpose of this thesis is two-fold. It presents six original pieces composed and arranged by the author, and it provides a thorough analysis of each. The compositions draw from many different musical genres: contemporary jazz, swing, funk, fusion, soul, neo-soul, and rhythm and blues. The applications of melodic, harmonic, and rhythmic techniques derived from these genres can be found in these original compositions. These compositions are inspired by -- and attempt to narrate --life experiences. Parallels between life and music are drawn and explained. By way of introduction, some information is given regarding the ensemble that first performed these original compositions. The ensemble comprised trumpet, tenor saxophone, keyboards, piano, electric bass, upright acoustic bass, drums, and percussion.