Four Pieces by James Knapp for Jazz Ensemble: Stylistic Analyses and Performance Guidelines
Lidral, Karel Arthur
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https://hdl.handle.net/2142/70850
Description
Title
Four Pieces by James Knapp for Jazz Ensemble: Stylistic Analyses and Performance Guidelines
Author(s)
Lidral, Karel Arthur
Issue Date
1986
Department of Study
Music
Discipline
Music Education
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
Educat.D.
Degree Level
Dissertation
Keyword(s)
Education, Music
Abstract
The purpose of the study was two-fold: (1) to describe the stylistic characteristics in two compositions and two arrangements for jazz ensemble by James Knapp; and (2) to identify performance problems and establish guidelines for performance of the four works.
The analytic procedure was that developed by Jan LaRue in Guidelines for Style Analysis (W. W. Norton, 1970). Each of the Knapp pieces was examined individually. First, articulations delineating the middle dimensions of each work were identified through a dual process of listening to a recording of the work while following and studying the score. Next, each element in large, middle, and small dimensions was discussed in terms of its relative significance as it contributed to both Movement and Shape, the subcategories of Growth. Finally, the investigator determined and described the controlling element or elements in each work.
Guidelines for performance of the four works were based upon both the stylistic analyses and the performance problems identified during the investigation of subproblem two. First, the investigator established guidelines which pertain to performance and stylistic characteristics unique to each work. Following all four analyses, the investigator established general performance guidelines applicable to all of the works.
The investigator made the following determinations: (1) in "Other Summers" and "Darn That Dream", Sound exerts the greatest control over Movement; (2) in "Song for Someone", all elements except Rhythm contribute to Movement; and (3) in "I'm Glad There is You", Melody exerts the greatest control over Movement. In all four works, Harmony exerts the greatest control over Shape.
The following conclusions are applicable to the performance of all four pieces: (1) excellent soloists are needed; (2) intonation and dynamics are particularly important due to the unusual combinations of instruments employed; and (3) the independence of the individual parts requires an approach to each piece by all performing members which entails that each performer be constantly aware of the events occurring in every part, rather than merely his or her own.
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