Thinking in Jazz

by Berliner, Paul F.

  Martin, Henry. 1980. “Jazz Harmony.” Ph.D. dissertation, Princeton University.

  ———. 1986. Enjoying Jazz. New York: Schirmer Books.

  ———. 1988. “Jazz Harmony: A Syntactic Background.” Annual Review of Jazz Studies 4:9–30.

  Martindale, Colin. 1990. The Clockwork Muse. New York: Basic.

  Maxwell, Jim. 1982. The First Trumpeter. New York: Charles Colin.

  Meadows, Eddie S. 1981. Jazz Reference and Research Materials: A Bibliography. New York: Garland.

  Mehegan, John F. 1959. Jazz Improvisation: Tonal and Rhythmic Principles, vol. 1. New York: Watson-Guptill.

  Mensah, Atta Annan. 1971–72. “Jazz-The Round Trip.” Jazzforschung/Jazz Research 3–4:124–37.

  Merriam, Alan P. 1964. The Anthropology of Music. Evanston, IL: Northwestern University Press.

  Merriam, Alan P., and Robert J: Brenford. 1954. A Bibliography of Jazz. Philadelphia: American Folklore Society. Rpt. New York: Da Capo, 1970.

  Merriam, Alan P., and Raymond W. Mack. 1960. “The Jazz Community.” Social Forces 38 no. 3 (March): 211–22.

  Milano, Dominic. 1984. “Jazz Pianist and Psychiatrist Denny Zeitlin on the Psychology of Improvisation.” Keyboard 10, no. 10 (October): 25, 30–35.

  Mingus, Charles. 1971. Beneath the Underdog. New York: Alfred A. Knopf.

  Monson, Ingrid T. 1991. “Musical Interaction in Modem Jazz: An Ethnomusicological Perspective.” Ph.D. dissertation, New York University.

  Moorman, D. L. 1984. “An Analytical Study of Jazz Improvisation with Suggestions for Performance.” Ph.D. dissertation, New York University.

  Mumma, Gordon, with Chris Sheridan and Barry Kernfeld. 1988. “Recording (I).” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  Murray, Albert. 1973. The Hero and the Blues. Columbia: University of Missouri Press.

  ———.1976. Stomping the Blues. New York: McGraw-Hill.

  Nelson, Oliver. 1966. Patterns for Improvisation. New Albany, IN: Jamey Aebersold.

  Nettl, Bruno. 1974. “Thoughts on Improvisation: A Comparative Approach.” Musical Quarterly 60, no. 1 (January): 1–19.

  ———, ed. “New Perspectives on Improvisation” issue. World of Music 33, no. 3 (1991). Wilhelmshaven, Germany: Florian Noetzel Edition.

  Newsom, Jon. 1973. “Jazz: Aspects of Melodic Improvisation.” In Music in the Modem Age, ed. R W. Sternfeld. New York: Praeger.

  Nketia, J. H. K wabena. 1971. “Surrogate Languages of Africa.” Current Trends in Linguistics 7:699–732.

  ———.1974. The Music of Africa. New York: W. W. Norton.

  Oliver, Paul. 1970. Savannah Syncopators: African Retentions in the Blues. New York: Stein and Day.

  O’Meally, Robert. 1991. Lady Day. New York: Arcade; Little, Brown.

  Owens, Thomas. 1974. “Charlie Parker: Techniques of Improvisation.” 2 vols. Ph.D. dissertation, University of California at Los Angeles.

  ———. 1988. “Forms.” In The New Grove Dictionary of Jazz. See Kernfeld 1988d. Pareles, Jon. 1983. “Celebrating Miles Davis at Music Hall.” New York Times, November 4.

  Patrick, James. 1975. “Charlie Parker and Harmonic Sources of Bebop Composition: Thoughts on the Repertory of New Jazz in the 1940s.” Journal of Jazz Studies 2, no. 2 (January): 3–23.

  ———. 1983. “AI Tinney, Monroe’s Uptown House, and the Emergence of Modern Jazz in Harlem.” Annual Review of Jazz Studies 2:150–79.

  Pearson, Nathan, Jr. 1987. Goin’ to Kansas City. Urbana and Chicago: University of Illinois Press.

  Perlman, Alan M., and Daniel Greenblatt. 1981. “Miles Davis Meets Noam Chomsky: Some Observations on Jazz Improvisation and Language Structure.” In The Sign in Music and Literature, ed. Wendy Steiner. Austin: University of Texas Press.

  Pike, Alfred. 1974. “A Phenomenology of Jazz:” Journal of Jazz Studies 2, no. 1 (December): 88–94.

  Pinckney, Warren R., Jr. 1989. “Puerto Rican Jazz and the Incorporation of Folk Music: Analysis of New Musical Directions.” Latin American Review 10, no. 2 (Fall/Winter): 236–66.

  ———. 1989–90. “Jazz in India: Perspectives on Historical Development and Musical Acculturation.” Asian Music 21, no. 1 (Fall/Winter): 35–77.

  Porter, Lewis. 1983. “John Coltrane’s Music of 1960 through 1967: Jazz Improvisation as Composition:” Ph.D. dissertation, Brandeis University.

  ———. 1985a. “John Coltrane’s ‘A Love Supreme’: Jazz Improvisation as Composition.” Journal of American Musicological Society 38, no. 3 (Fall): 593–621.

  ———. 1985b. Lester Young. Boston: Twayne.

  ———. 1988. “John Lewis.” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  Pressing, Jeff. 1982. “Pitch Class Set Structures in Contemporary Jazz.” Jazzforschung/Jazz Research 14:133–72.

  ———. 1984. “Cognitive Processes in Improvisation.” In Cognitive Processes in the Perception of Art, ed. W. Ray Crozier and Antony J. Chapman. Amsterdam: Elsevier.

  ———. 1988. “Improvisation: Methods and Models.” In Generative Processes in Music, ed. John A. Sloboda. Oxford: Clarendon.

  Priestly, Brian. 1983 (1982). Mingus: A Critical Biography. New York: Da Capo.

  Radano, Ronald Michael. 1985. “Anthony Braxton and His Two Musical Traditions: The Meeting of Concert Music and Jazz.” Ph.D. dissertation, University of Michigan.

  Randel, Don Michael, ed. 1986. The New Harvard Dictionary of Music. Cambridge: Belknap Press of Harvard University Press.

  The Real Book. 2d ed. lllegal fake book, no credits.

  The Real Book, vol. 2. lllegal fake book, no credits.

  Reed, Ted. 1958. Progressive Steps to Syncopation for the Modem Drummer. Clear Water, FL: Ted Reed.

  Reid, Rufus. 1977. Evolving Upward: Bass Book 2. Teaneck, NJ: Myriad.

  ———. 1983. The Evolving Bassist: Exercises and Solos. Teaneck, NJ: Myriad. Reisner, Robert George. 1959. The Literature of Jazz: A Selective Bibliography. New York: New York Public Library.

  ———, ed. 1979. Bird: The Legend of Charlie Parker. New York: Da Capo.

  Ricker, Ramon. 1976. Pentatonic Scales for Jazz Improvisation, Hialeah, FL: Studio 224, Columbia Pictures Publications.

  Rinzler, Paul. 1983. “McCoy Tyner: Style and Syntax:” Annual Review of Jazz Studies 2:109–49.

  ———. 1988. “Preliminary Thoughts on Analyzing Musical Interaction among Jazz Performers:” Annual Review of Jazz Studies 4: 153–60.

  Roberts, Bruce. 1991. “Teaching the Seven Fundamental Rudiments:” Instrumentalist 45, no. 9 (March): 74–77.

  Roberts, John Storm. 1972. Black Music of Two Worlds. New York: Praeger. Rpt. New York: William Morrow, 1974.

  Rose, Al. 1979. Eubie Blake. New York: Schirmer.

  Ross, Thomas W. 1989. “Improvisatory Models in Two Cultures: Todi and Rhythm Changes:” Asian Review (Fall): 30–38.

  Russo, William. 1968. Jazz Composition and Orchestration. Chicago: University of Chicago Press.

  Russell, George A. 1959. The Lydian Chromatic Concept of Tonal Organization for Improvisation. New York: Concept.

  Rust, Brian. 1978. Jazz Records 1897–1942. 4th ed. New Rochelle, NY: Arlington House.

  Sargeant, Winthrop. 1976. Jazz: Hot and Hybrid. 3d ed., enl. New York: Da Capo. Orig. pub. New York: Arrow, 1938.

  Sawyer, Keith. 1992. “Improvisational Creativity: An Analysis of Jazz Performance:” Creativity Research Journal 5 (3): 253–63.

  Schillinger, Joseph. 1946. The Schillinger System of Musical Composition. New York: Carl Fisher.

  Schuller, Gunther. 1958. “Sonny Rollins and the Challenge of Thematic Improvisation:” Jazz Review 1, no. 1 (November): 6–11,21.

  ———. 1961. Ornette Coleman. New York: MJQ Music.

  ———. 1962. “Sonny Rollins and Thematic Improvising.” In Jazz Panorama, ed. Martin Williams. New York: Crowell-Collier. Rpt. of Schuller 1958.

  ———. 1968. Early Jazz: Its Roots and Musical Development. New York: Oxford
University Press.

  ———. 1988. ‘Arrangement.” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  ———. 1989. The Swing Era: The Development of Jazz 1930–1945. New York: Oxford University Press.

  Shapiro, Nat, and Nat Hentoff. 1966. Hear Me Talkin’ to Ya: The Story of Jazz as Told by the Men Who Made It. New York: Dover. Orig. pub. New York: Rinehart, 1955.

  Sheets-Johnstone, Maxine. 1981. “Thinking in Movement.” Journal of Aesthetics and Art Criticism 39, no. 4 (Summer): 399–407.

  Shelemay, Kay Kaufman. 1991. “Recording Technology, the Record Industry, and Ethnomusicological Scholarship.” In Comparative Musicology and Anthropology of Music, ed. Bruno Nettl and Philip V. Bohlman. Chicago: University of Chicago Press.

  Sher, Chuck, ed. 1988. The New Real Book, Musical ed. Bob Bauer. Petaluma, CA: SherMusic.

  ———.1991. The New Real Book, Volume 2. Musical ed. Bob Bauer. Petaluma, CA: SherMusic.

  Sheridan, Chris. 1988. “Recording (II, 1–3, 5–6).” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  Shipp, E. R. 1991. “Fans Recollect the ‘Eternal Music” of Miles Davis.” New York Times obituary, October 7.

  Shipton, Alyn. 1988a. “Double Bass.” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  ———. 1988b. “Piano:” In The New Grove Dictionary of Jazz. See Kernfeld 1988d. Sickler, Don. 1978. The Artistry of Joe Henderson. Ed. Bobby Porcelli. New York: Big 3 Music.

  ———. 1979. The Artistry of John Coltrane. Ed. Bobby Porcelli. New York: Big 3 Music.

  Silvert, Conrad. 1978. “A Conversation with Chick Corea and Herbie Hancock.” Interview appeared on program notes for a concert featuring the two artists in northern CA, February. No information available to me on its earlier publication.

  Simonton, D. K. 1988. Scientific Genius: A Psychology of Science. Cambridge: Cambridge University Press.

  Simpkins, Cuthbert Ormond. 1975. Coltrane: A Biography. Perth Amboy, NJ: Herdon House.

  Sloboda, J. A. 1989 (1985). The Musical Mind: The Cognitive Psychology of Music. Oxford: Clarendon Press.

  Slobin, Mark. 1984. “Europe/Peasant Music-Cultures of Eastern Europe.” In Worlds of Music, gen. ed. Jeff Titon. New York: Schirmer Books.

  Slone, Ken. 1977. Twenty-eight Modern Jazz Trumpet Solos. Ed. Jamey Aebersold. Lebanon, IN: Studio 224.

  Slonimsky, Nicolas. 1947. Thesaurus of Scales and Melodic Patterns. New York: Coleman-Ross.

  Smith, Gregory Eugene. 1983. “Homer, Gregory, and Bill Evans? The Theory of Formulaic Composition in the Context of Jazz Piano Improvisation.” Ph.D. dissertation, Harvard University.

  ———. 1991. “In Quest of a New Perspective on Improvised Jazz.” World of Music 33 (3): 29–52.

  Sonneck, Oscar, compo and trans. 1927. Beethoven: Impressions of Contemporaries. London: Humphrey Milford; Oxford University Press.

  Southern, Eileen. 1971. The Music of Black Americans: A History. New York: W. W. Norton.

  Spellman, A. B. 1966. Four Lives in the Bebop Business. New York: Pantheon.

  ———. 1970. Black Music: Four Lives in the Bebop Business. New York: Schocken. Rpt. of Spellman 1966.

  Spring, Howard. 1980. “The Improvisational Technique of Charlie Christian.” M.F.A. thesis, York University, Toronto, Ontario.

  Starr, Frederick S. 1983. Red and Hot: The Fate of Jazz in the Soviet Union 1917–1980. New York: Oxford University Press.

  Stearns, Marshall W. 1972 (1956, 1970). The Story of Jazz. London: Oxford University Press.

  Steedman, Mark J. “A Generative Grammar for Jazz Chord sequeres.” Music Perception 2, (1): 52–77.

  Stewart, Milton Lee. 1973. “Structural Development in the Jazz I provisational Technique of Clifford Brown.” Ph.D. dissertation, University of Michigan.

  ———. 1979. “Some Characteristics of Clifford Brown’s Improvisational Style.” Jazzforschung/Jazz Research 11: 135–64.

  ———. 1986. “Player Interaction in the 1955–1957 Miles Davis Quintet:” Jazz Research Papers 6:187–210.

  Strunk, Steven. 1979. “The Harmony of Early Bebop: A Layered Approach:” Journal of Jazz Studies 6, no. 1 (Falll/Winter): 4–53.

  ———.1988. “Harmony.” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  Stuckey, Sterling. 1987. Slave Culture: Nationalist Theory and the Foundations of Black America. New York: Oxford University Press.

  Suber, Charles. 1976. “Jazz Education.” In The Encyclopedia of Jazz in the Seventies, ed. Leonard Feather and Ira Gitler. New York: Horizon.

  Such, David. 1985. “Music, Metaphor and Values among Avante Garde Jazz Musicians Living in New York City.” Ph.D. dissertation, University of California at Los Angeles.

  Sudhalter, Richard M., and Philip R. Evans. 1974. Bix. Man and Legend. New Rochelle, NY: Arlington House.

  Sudnow, David. 1978. Ways of the Hand: The Organization of Improvised Conduct. Cambridge: Harvard University Press.

  Tallmadge, William H. 1979. “Equipment Failure and Audio Distortion in the Acoustical Recording and Remastering of Early Jazz.” Journal of Jazz Studies 5, no. 2 (Spring/Summer): 61–75.

  Tatum, Art. n.d. The Genius of Art Tatum Piano Solos. Miami: CPP Belwin.

  Taylor, Billy. 1982. Jazz Piano: A Jazz History. Dubuque, IA: Wm. C. Brown.

  Tirro, Frank. 1967. “The Silent Theme Tradition in Jazz.” Musical Quarterly 53, no. 3 (July): 313–34.

  ———. 1974. “Constructive Elements in Jazz Improvisation.” Journal of the American Musicological Society 27, no. 2 (Summer): 285–305.

  ———.1977. Jazz: A History. New York: W. W. Norton.

  Titon, Jeff. 1977. Early Downhome Blues: A Musical and Cultural Analysis. Urbana: University of Illinois Press.

  Tomlinson, Gary. 1991. “Cultural Dialogics and Jazz: A White Historian Signifies.” Black Music Research Journal 11, no. 2 (Fall): 229–64.

  Tucker, Mark. 1988. “Transcription.” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  ———. 1991. Ellington: The Early Years. Urbana and Chicago: University of Illinois Press.

  Ulrich, John Wade. 1977. “The Analysis and Synthesis of Jazz by Computer. In Proceedings of the Fifth International Joint Conference on Artificial Intelligence, 865–72. Los Angeles: William Naufmann (distrib.).

  Van Der Bliek, Robert. 1987. “Wes Montgomery: A Study of Coherence in Jazz Improvisation.” Master’s thesis, York University, Toronto, Ontario.

  Van Der Merwe, Peter. 1989. Origins of the Popular Style: The Antecedents of Twentieth-century Popular Music. New York: Oxford University Press.

  Volume I of Over One Thousand Songs. Fake book, no credits.

  Wang, Richard. 1973. “Jazz circa 1945: A Confluence of Styles.” Musical Quarterly 59 (4): 531–46.

  ———. 1988. “Researching the New Orleans-Chicago Jazz Connection: Tools and Methods.” Black Music Research Journal 8 (1): 101–12.

  Washburn, Dick, and Pat, Harbinson. 1980. Miles Davis Transcribed Solos. New Albany, IN: Jamey Aebersold pub. no. JA1300.

  Waterman, Richard A. 1948. “‘Hot’ Rhythm in Negro Music.” Journal of the American Musicological Society 1 (1): 24–37.,

  ———. 1963. “On Flogging a Dead Horse: Lessons Learned from the Africanisms Controversy.” Ethnomusicology 7, no. 2 (May): 83–87.

  ———. 1967. “African Influence on the Music of the Americas.” In Acculturation in the Americas: Proceedings and Selected Papers of the Twenty-ninth International Congress of Americanists, ed. Sol Tax. New York: Cooper Square.

  Watrous, Peter. 1992. “Dizzy Gillespie Stays Put, but Not for Long.” New York Times, January 7.

  Welburn, Ron. 1987. “James Reese Europe and the Infancy of Jazz Criticism:” Black Music Research Journal 7:35–44.

  Wells, Dicky. 1971. As told to Stanley Dance. The Night People: Reminiscences of a Jazzman. Boston: Crescendo.

  White, Andrew. 1973–78. The Works of John Coltrane. Washington, D.C.:
Andrew’s Music.

  Williams, Martin T. 1958. Jazz Panorama. New York: Crowell-Collier.

  ———. 1967. Wheres the Melody? A Listener’s Introduction to Jazz. New York: Funk and Wagnalls.

  ———. 1970. The Jazz Tradition. New York: Oxford University Press.

  Wilmer, Valerie. 1977. As Serious as Your Life. London: Quartet.

  Wilson, John. 1989. “Roy Eldridge, 78, Jazz Trumpeter Who Spanned Music’s Style, Dies.” New York Times obituary, February 28.

  Wilson, Olly W. 1990. “Musical Analysis of African American Music:” Paper delivered at the Preconference Symposium of the Society for Ethnomusicology, Oakland, CA, November 7.

  Winkler, Peter K. 1978. “Towards a Theory of Popular Harmony.” In Theory Only 4, no. 2 (May/June): 3–26.

  Winter, Keith. 1979. “Communication Jazz Analysis.” Jazzforschung/Jazz Research 11:93–132.

  Witmer, Robert 1988a. “Fill.” In The New Grove Dictiόnary of Jazz. See Kernfeld 1988d.

  ———. 1988b. “Notation:” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  ———. 1988c. “Standard.” In The New Grove Dictionary of Jazz. See Kernfeld 1988d.

  Witmer, Robert, and James Robbins. 1988. “A Historical and Critical Survey of Recent Pedagogical Materials for the Teaching and Learning of Jazz.” Council for Research in Music Education Bulletin, no. 96 (Spring): 7–29. Urbana: School of Music, University of Illinois.

  Woessner, Russell. 1983. “Odean Pope.” Down Beat 50, no. 3 (March): 46–47.

  Zinn, D. B. 1981. Theory. Vol. 1, The Structure and Analysis of the Modem Improvised Line. New York: Excelsior Music.

  Zwerin, Michael. 1968. “Dues Paid.” Down Beat 35, no. 3 (February 8): 18–21,40.

  ———. 1982. “Abdullah Ibrahim:” International Herald Tribune, October 27.

  INDEX

  Abrams, Muhal Richard, 57

  Accentuation, 67, 69, 127–28, 154, 156, 166, 182, 188, 194–95, 197–98, 293, 298, 302, 311, 316, 318, 325–28, 330, 334, 337, 345, 355–56, 358–59, 363–64, 370, 372, 374, 398. See also Articulation; Bombs; Kicks; Punches

  Accompaniment, 298–300, 315, 332, 537, 607–8, 624–27, 629, 631, 633. See also Bass performance; Comping; Drum set performance; Group interplay; Piano performance; Rhythm section