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Steve Larson Analyzing Jazz: A Schenkerian Approach. Pendragon Press, 2009: x+204 pp. ($99.00 paper) Benjamin Givan Schenkerian studies of jazz improvisation have a curious history. The first prominent theorist to examine the idiomâs pitch structure from a prolongational standpoint was almost certainly Allen Forte, in a 1958 lecture delivered in Germany (Forte 2011). But Forte abandoned this research field, and almost two decades elapsed before scholars such as Thomas Owens and Peter Winklerâneither of them primarily theoristsâpursued it any further (Owens 1974; Winkler 1978). As the broader discipline of music theory came into its own during the late 1970s and early 1980s, Steven Strunk, Henry Martin, and Steve Larson began to publish intensive Schenkerian studies of jazz improvisation, and they remain the fieldâs leading exponents to this day.1 In the last twenty years, meanwhile, the landscape of jazz scholarship has been dramatically transformed by the onset of the so-called ânew jazz studies,â a culturally focused interdisciplinary movement that has rather marginalized theoretical perspectives. Indeed, it was recently declared in this journalâs pages that by the âlate 1990s, music-analytical work on jazz and improvisation seemed to fadeâ (Steinbeck 2007, 335). Larson, regardless, has continued to publish a steady stream
Journal of Music Theory – Duke University Press
Published: Mar 1, 2011
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