Jul 2026· Journal of jazz studies· Vol 17, pp. 68-104· 0 citations
Abstract
As a towering figure in music in the twentieth century, John Coltrane has made innumerable contributions. One of the most significant aspects of his career are his blues compositions and improvisations. Many of Coltrane’s written blues heads, as well as his opening and closing solo choruses, follow sentential structures. Somewhat surprisingly, this particular part of his output has been left underexplored in existing research projects. In hopes of also contributing to a fairly recent discussion that centers around efforts to revamp the sentential paradigm, I introduce the formal type of the “blues sentences,” and contrast it with the riff blues, and other designs. Moreover, I also introduce the riff-sentence hybrid and the two subcategories of through-composed blues types (a) line-driven melodies and (b) modular melodies. In the effort to establish a sentential perspective, I do not dismiss traditional bar form readings but rather supplement my interpretations with them in order to highlight the respective advantages and disadvantages.
Gender is the chief generative obstacle here—making more than two times six—distributed across the natural grammars of these micro- dramas, with their psychosocial, vocational, and hierarchical narrative vectors.
Nick Montfort, Serge Bouchardon, C. León et al.· 0 citations
This article offers a new interpretation of Tristano Martinelli’s Compositions de Rhétorique (1600-1601), one of the most emblematic books produced by Commedia dell’Arte actors. Martinelli, creator of the mask and stage persona of Harlequin, presented the unique volume – now held by the Bibliothèque nationale de France...
P. Bossier· Incontri: Rivista Europea di...· 0 citations
Background and Objectives: Alexander Scriabin’s Piano Sonata No. 5, Op. 53 (1907) is a transitional work in which the composer moves from a late-Romantic idiom toward a personal harmonic system, and is the first of his sonatas cast in a continuous single-movement form. Its pitch organisation draws extensively on the “m...
The themselves on three the logic pieces grouped of two that of compose together Harold by this Pinter's happy triptych monologues coincidence: of reflections find the on the logic of two of Harold Pinter's monologues find themselves grouped together by happy coincidence: the papers each of us presented at the 2009 Har...
Emily Kingery, Craig N. Owens, Judith Roof· The Journal of the Midwest M...· 0 citations
To say that John reuses the Synoptics is to say that he not only knows earlier Gospel texts or that he was influenced by earlier Gospel tradition, but it is to argue that he is dependent on them and rewrites them. Given the myriad types of textual relationships possible in ancient Jewish writings, the study of early Ch...
In the nineteenth century, opera ruled the lyric stage, producing numerous popular melodies that resonated deeply with audiences. Pianists began to borrow materials from the operas they knew, and the opera-based fantasy for the piano became popular and dominated the concert stage for much of the 19th century. Among the...
Xin-Yao Feng· Transactions on Social Scien...· 0 citations
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