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"It's Completely Mingus": Compositional Techniques in Three Works by Charles Mingus for Contemporary Wind Ensemble
"It's Completely Mingus": Compositional Techniques in Three Works by Charles Mingus for Contemporary Wind Ensemble
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211153124
- ISBN
- 9798346855545
- DDC
- 780
- 서명/저자
- Its Completely Mingus: Compositional Techniques in Three Works by Charles Mingus for Contemporary Wind Ensemble
- 발행사항
- [Sl] : University of California, Los Angeles, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 120 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 86-06, Section: A.
- 주기사항
- Advisor: Cross, Travis J.
- 학위논문주기
- Thesis (D.M.A.)--University of California, Los Angeles, 2024.
- 초록/해제
- 요약Charles Mingus was one of the most important American musical figures of the twentieth century. During his five-decade career, Mingus contributed to many of jazz's stylistic periods-including swing, bebop, cool, hard bop, modal jazz, and soul jazz-and collaborated with its most celebrated figures, including Louis Armstrong, Lionel Hampton, Duke Ellington, Charlie Parker, Art Tatum, and Miles Davis. As a bassist, he pushed the boundaries of the role and function of the instrument; as a bandleader, he had an unorthodox style of teaching that constantly pushed his fellow performers; as a composer, his endlessly imaginative writing created an output that often confounded critics and listeners.Recent transcriptions of Mingus's works have enlightened the wind band field to the music of this unique and prolific composer and demonstrated that his music can be performed by contemporary wind ensemble. This dissertation examines two such transcriptions, Half-Mast Inhibition and Adagio ma non troppo, along with a previously published chamber ensemble piece, Revelations. These compositions represent works written by the composer in the early, middle, and late stages of his career.This study analyzes these works through their orchestration, in order to demonstrate a compositional style of the composer in his large-ensemble writing. This style, as evidenced through recurring techniques, can be defined through the following characteristics: episodic, often segmented form, determined by changes in orchestration; quickly shifting ensemble colors; extremes in ensemble tessitura, both in tutti and chamber writing; and frequently shifting tempo and meter.
- 일반주제명
- Music
- 일반주제명
- Musical composition
- 일반주제명
- American studies
- 일반주제명
- Musical performances
- 키워드
- Mingus, Charles
- 키워드
- Jazz
- 키워드
- Revelations
- 키워드
- Wind ensemble
- 기타저자
- University of California, Los Angeles Music 0579
- 기본자료저록
- Dissertations Abstracts International. 86-06A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■1001 ▼aJames, Michael Todd.
■24510▼a"It's Completely Mingus": Compositional Techniques in Three Works by Charles Mingus for Contemporary Wind Ensemble
■260 ▼a[Sl]▼bUniversity of California, Los Angeles▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a120 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 86-06, Section: A.
■500 ▼aAdvisor: Cross, Travis J.
■5021 ▼aThesis (D.M.A.)--University of California, Los Angeles, 2024.
■520 ▼aCharles Mingus was one of the most important American musical figures of the twentieth century. During his five-decade career, Mingus contributed to many of jazz's stylistic periods-including swing, bebop, cool, hard bop, modal jazz, and soul jazz-and collaborated with its most celebrated figures, including Louis Armstrong, Lionel Hampton, Duke Ellington, Charlie Parker, Art Tatum, and Miles Davis. As a bassist, he pushed the boundaries of the role and function of the instrument; as a bandleader, he had an unorthodox style of teaching that constantly pushed his fellow performers; as a composer, his endlessly imaginative writing created an output that often confounded critics and listeners.Recent transcriptions of Mingus's works have enlightened the wind band field to the music of this unique and prolific composer and demonstrated that his music can be performed by contemporary wind ensemble. This dissertation examines two such transcriptions, Half-Mast Inhibition and Adagio ma non troppo, along with a previously published chamber ensemble piece, Revelations. These compositions represent works written by the composer in the early, middle, and late stages of his career.This study analyzes these works through their orchestration, in order to demonstrate a compositional style of the composer in his large-ensemble writing. This style, as evidenced through recurring techniques, can be defined through the following characteristics: episodic, often segmented form, determined by changes in orchestration; quickly shifting ensemble colors; extremes in ensemble tessitura, both in tutti and chamber writing; and frequently shifting tempo and meter.
■590 ▼aSchool code: 0031.
■650 4▼aMusic
■650 4▼aMusical composition
■650 4▼aAmerican studies
■650 4▼aMusical performances
■653 ▼aAdagio ma non troppo
■653 ▼aMingus, Charles
■653 ▼aHalf-Mast Inhibition
■653 ▼aJazz
■653 ▼aRevelations
■653 ▼aWind ensemble
■690 ▼a0413
■690 ▼a0323
■690 ▼a0214
■690 ▼a0943
■71020▼aUniversity of California, Los Angeles▼bMusic 0579.
■7730 ▼tDissertations Abstracts International▼g86-06A.
■790 ▼a0031
■791 ▼aD.M.A.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17165106▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
