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      "Duke Ellington está deserdando o jazz?": eruditização da improvisação em Diminuendo and crescendo in blue Translated title: "Is the Duke deserting jazz?": classicisation through improvisation in Diminuendo and crescendo in blue

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          Abstract

          Desde o início de sua carreira como compositor e líder de orquestra de jazz nos anos de 1920, Duke Ellington tem sido comparado a compositores eruditos europeus como Delius e Debussy. Declarações como a de Constant LAMBERT (1934), de que Duke Ellington estabeleceu "um padrão pelo qual podemos julgar. . .compositores eruditos" se concentraram em procedimentos composicionais complexos de sua obra. Seguindo outra direção, o presente estudo examina a interseção entre os estilos erudito e jazzístico, por meio da análise de seções tipicamente improvisadas de Ellington. O desenvolvimento do solo improvisado de saxofone barítono, materiais improvisatórios no Interlúdio e o papel do piano de Duke Ellington em três gravações - de 1937, 1953 e 1956 (ELLINGTON, 1937, 1953, 1956), - de Diminuendo and crescendo in blue (1937) indicam o estabelecimento de solos fixos no repertório de sua orquestra. O grau de elaboração composicional aí implícito sugere outras implicações. A análise minuciosa das gravações e a verificação de críticas contemporâneas de Ellington e de fontes acadêmicas posteriores (especialmente a de Bruno NETTL, 1974) permitem avaliar as implicações da predeterminação sugerida pelo tratamento que Duke Ellington deu à improvisação neste período.

          Translated abstract

          Since the beginning of Duke Ellington's career as composer and leader of his own jazz orchestra in the 1920s, a common critical theme has been the comparison with European art music composers such as Delius and Debussy. Assertions such as Constant LAMBERT (1934) statement that Duke Ellington set a "standard by which we may judge ...highbrow composers" focussed on the complex compositional devices in his output. Rather than restate these off-cited judgements of Ellington's compositional style, this paper examines the intersection between the classical and jazz styles by analysing typically improvised sections of Ellington's work. Consideration of the development of an improvised baritone saxophone solo, improvised material in the Interlude, and the role of Ellington's piano in three recordings of his 1937 Diminuendo and crescendo in blue (from 1937, 1953 and 1956 (ELLINGTON, 1937, 1953, 1956),) indicates the establishment of fixed solos in the Ellington Orchestra's repertoire. The degree of composition implied by this warrants further thought. Through close study of these recordings and engagement with contemporary criticism and later scholarly sources (focussing particularly on the writings of Bruno NETTL,1974) I evaluate the implications of the predetermination suggested by Ellington's treatment of improvisation over this period.

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          Most cited references 14

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          THOUGHTS ON IMPROVISATION: A COMPARATIVE APPROACH

           Bruno Nettl (1974)
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            Something to live for: the music of Billy Strayhorn

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              Musings: the Musical Worlds of Gunther Schuller

               G. Schuller (1989)
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                Author and article information

                Contributors
                Role: ND
                Role: ND
                Journal
                pm
                Per Musi
                Per musi
                Escola de Música da UFMG (Belo Horizonte )
                2317-6377
                June 2014
                : 0
                : 29
                : 07-14
                Affiliations
                [1 ] University of Nottingham Inglaterra
                [2 ] Universidade Federal de Minas Gerais Brazil
                Article
                S1517-75992014000100002
                10.1590/S1517-75992014000100002
                Product
                Product Information: website
                Categories
                MUSIC

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