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04864nam a2200625 a 4500 |
| 001 |
00006909 |
| 003 |
2011 05 02 |
| 005 |
20180926002502.0 |
| 008 |
161003s1994 xxu||||| |||| 00| 0 eng d |
| 020 |
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|a 9780226043814
|z 978-0-226-04381-4
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| 040 |
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|a IIGG
|c IIGG
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| 100 |
1 |
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|a Berliner, Paul
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| 245 |
0 |
0 |
|a Thinking in jazz :
|b the infinite art of improvisation.
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| 260 |
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|a Chicago :
|b University of Chicago,
|c 1994.
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| 300 |
|
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|a xix, 883 p.
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| 490 |
0 |
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|a Chicago studies in ethnomusicology
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| 500 |
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|a Donación Red de Cooperación Nuevas perspectivas de la Teoría de la Cultura.
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| 500 |
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|a Contiene índice analítico.
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| 500 |
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|a Contenido: Introduction: Picking notes out of thin air? Improvisation and its study -- pt. I. Initial preparations for jazz. Love at first sound: early musical environment ; Hangin' out and jammin': the jazz community as an educational system -- pt. II. Cultivating the soloist's skills. A very structured thing: jazz compositions as vehicles for improvisation ; Getting your vocabulary straight: learning models for solo formulation ; Seeing out a bit: expanding upon early influences ; The more ways you have of thinking: conventional rhythmic and theoretical improvisation approaches ; Conversing with the piece: initial routines applying improvisation approaches to form ; Composing in the moment: the inner dialogue and the tale ; Improvisation and precomposition: the eternal cycle ; The never-ending state of getting there: soloing ability, ideals, and evaluations. pt. III. Collective aspects of improvisation. Arranging pieces: decisions in rehearsal ; Adding to arrangements: conventions guiding the rhythm section ; Give and take: the collective conversation and musical journey ; When the music's happening and when it's not: evaluating group performances ; The lives of bands: conflict resolution and artistic development -- pt. IV. Additional factors affecting improvisation, and epilogue. Vibes and venues: interacting with different audiences in different settings ; Epilogue: Jazz as a way of life -- pt. V. Music texts. Appendix A: House Congressional Resolution 57 ; Appendix B: List of artists interviewed.
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| 653 |
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|a HISTORIA DEL ARTE
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|a v59Contenido: Introduction: Picking notes out of thin air? Improvisation and its study -- pt. I. Initial preparations for jazz. Love at first sound: early musical environment ; Hangin' out and jammin': the jazz community as an educational system -- pt. II. Cultivating the soloist's skills. A very structured thing: jazz compositions as vehicles for improvisation ; Getting your vocabulary straight: learning models for solo formulation ; Seeing out a bit: expanding upon early influences ; The more ways you have of thinking: conventional rhythmic and theoretical improvisation approaches ; Conversing with the piece: initial routines applying improvisation approaches to form ; Composing in the moment: the inner dialogue and the tale ; Improvisation and precomposition: the eternal cycle ; The never-ending state of getting there: soloing ability, ideals, and evaluations. pt. III. Collective aspects of improvisation. Arranging pieces: decisions in rehearsal ; Adding to arrangements: conventions guiding the rhythm section ; Give and take: the collective conversation and musical journey ; When the music's happening and when it's not: evaluating group performances ; The lives of bands: conflict resolution and artistic development -- pt. IV. Additional factors affecting improvisation, and epilogue. Vibes and venues: interacting with different audiences in different settings ; Epilogue: Jazz as a way of life -- pt. V. Music texts. Appendix A: House Congressional Resolution 57 ; Appendix B: List of artists interviewed
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