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Rätt skala blir inte automatiskt en bra improvisation.: En musikanalytisk studie av fem olika pianosolon spelade av erkända jazzmusiker.
Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies.
2014 (Swedish)Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesisAlternative title
The right scale is no guarantee of good improvisation. : A musicological study of five piano solos performed by acclaimed jazz musicians. (English)
Abstract [sv]

Det finns en hel del litteratur som lär ut jazzimprovisation, men få som visar vilka musikaliska strukturer som kan användas för att få det att låta ”jazzigt”. I den här kvalitativa studien utforskas därför likheterna mellan fem olika utvalda jazzimprovisationer i piano. I fokus står improvisationernas musikaliska ”språk” ifråga om musikaliska byggstenar eller strukturer. Forskningsfrågan lyder: Vilka musikaliska ”byggstenar” eller strukturer, har fem olika solon i jazzpiano gemensamt? Syftet med studien är att finna likheter mellan några pianoimprovisationer av kända jazzmusiker. Studien utgår från fenomenologiskt och hermeneutiskt perspektiv. Resultaten visar att de olika musikerna använder sig av en rad olika specifika koncept som de bygger sina jazzimprovisationer på: bluesspråk, side slipping, kromatik och närmandetoner, ackordstoner, reharmonisering, överlagrade ackord och pentatonik. Det fenomen som synes hålla samman dessa koncept är tension and release, som tillsammans med koncepten bidrar till det musikaliska språk som används inom den här delen av jazzgenren. Trots att pianisterna synes bygga sina improvisationer på samma koncept, används dock dessa på så pass varierade sätt, att improvisationerna upplevs som både personliga och kreativa. 

Abstract [en]

It is easy to find literature that teaches jazz improvisations, but hard to find any that really shows which musical structures can be used in order to make a sound “jazzy”. This qualitative study will therefore explore the similarities between five piano-jazz improvisations.  The music “language” of the musicians such as the “building blocks” or structure will be in focus when comparing these improvisations. The research question for this study will therefore be: what musical building blocks or structures have the five solos in jazz piano in common? The aim is to find similarities between some piano improvisations done by acclaimed jazz musicians. The study will have a phenomenological and hermeneutic approach. The presented result show that the musicians use a range of specific concepts when building their jazz improvisations; blues, side slipping, chromaticism and approach notes, chord tones, reharmonisation, upper structure triads and pentatonics. The conclusive phenomena has been proven to be tension and release, that together with the concept contributes to the music language that is used within this jazz genre. Even though the different pianists seems to use the same concept when building their improvisations, it is in the way they use them in terms of variation, that makes the solos appear personal and creative.

Place, publisher, year, edition, pages
2014. , 40 p.
Keyword [en]
music, jazz, piano, improvisation, learning, phenomenology, hermeneutic
Keyword [sv]
musik, jazz, piano, improvisation, lärande, fenomenologi, hermeneutik.
National Category
Music
Identifiers
URN: urn:nbn:se:kau:diva-32051OAI: oai:DiVA.org:kau-32051DiVA: diva2:716170
Subject / course
Teacher Education - Music
Educational program
Teacher education
Supervisors
Examiners
Available from: 2014-05-08 Created: 2014-05-08 Last updated: 2014-05-08Bibliographically approved

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  • apa
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