A comparison of embellishments in performances of bebop with those in the music of Chopin
| dc.contributor.advisor | Kolosick, J. Timothy | en_US |
| dc.contributor.author | Mitchell, David William, 1960- | |
| dc.creator | Mitchell, David William, 1960- | en_US |
| dc.date.accessioned | 2013-04-03T13:18:21Z | |
| dc.date.available | 2013-04-03T13:18:21Z | |
| dc.date.issued | 1992 | en_US |
| dc.identifier.uri | http://hdl.handle.net/10150/278257 | |
| dc.description.abstract | Significant similarities can be found in the origins of the music of the bebop style of jazz of the 1940s and '50s and the music of Chopin. Chopin's music, like that of the beboppers, has an improvisatory quality. And many of the bebopper's complex embellishment figures have significant corollaries in the music of Chopin. In comparing bebop embellishments with those in the music of Chopin, the author has selected Charlie Parker, Dizzy Gillespie, and Clifford Brown as exponents of the bebop style. This study finds similarities between Chopin's use of embellishments and that of Parker, Gillespie, and Brown which include the use of delayed passing motion, the use of consecutive embellishing tones, the use of figures which converge on a note from both sides, and the frequent use of changing tone figures of all types. | |
| dc.language.iso | en_US | en_US |
| dc.publisher | The University of Arizona. | en_US |
| dc.rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. | en_US |
| dc.subject | Music. | en_US |
| dc.title | A comparison of embellishments in performances of bebop with those in the music of Chopin | en_US |
| dc.type | text | en_US |
| dc.type | Thesis-Reproduction (electronic) | en_US |
| thesis.degree.grantor | University of Arizona | en_US |
| thesis.degree.level | masters | en_US |
| dc.identifier.proquest | 1351346 | en_US |
| thesis.degree.discipline | Graduate College | en_US |
| thesis.degree.name | M.M. | en_US |
| dc.identifier.bibrecord | .b27148439 | en_US |
| refterms.dateFOA | 2018-07-13T04:04:27Z | |
| html.description.abstract | Significant similarities can be found in the origins of the music of the bebop style of jazz of the 1940s and '50s and the music of Chopin. Chopin's music, like that of the beboppers, has an improvisatory quality. And many of the bebopper's complex embellishment figures have significant corollaries in the music of Chopin. In comparing bebop embellishments with those in the music of Chopin, the author has selected Charlie Parker, Dizzy Gillespie, and Clifford Brown as exponents of the bebop style. This study finds similarities between Chopin's use of embellishments and that of Parker, Gillespie, and Brown which include the use of delayed passing motion, the use of consecutive embellishing tones, the use of figures which converge on a note from both sides, and the frequent use of changing tone figures of all types. |
