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Analyzing Jazz: A Schenkerian Approach

Analyzing Jazz: A Schenkerian Approach 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 idiom’s 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 Winkler—neither of them primarily theorists—pursued 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 field’s 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 “new jazz studies,” a culturally focused interdisciplinary movement that has rather marginalized theoretical perspectives. Indeed, it was recently declared in this journal’s pages that by the “late 1990s, music-analytical work on jazz and improvisation seemed to fade” (Steinbeck 2007, 335). Larson, regardless, has continued to publish a steady stream http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Analyzing Jazz: A Schenkerian Approach

Journal of Music Theory , Volume 55 (1) – Mar 1, 2011

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Publisher
Duke University Press
Copyright
Copyright 2011 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-1219223
Publisher site
See Article on Publisher Site

Abstract

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 idiom’s 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 Winkler—neither of them primarily theorists—pursued 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 field’s 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 “new jazz studies,” a culturally focused interdisciplinary movement that has rather marginalized theoretical perspectives. Indeed, it was recently declared in this journal’s pages that by the “late 1990s, music-analytical work on jazz and improvisation seemed to fade” (Steinbeck 2007, 335). Larson, regardless, has continued to publish a steady stream

Journal

Journal of Music TheoryDuke University Press

Published: Mar 1, 2011

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