The primary objective of the SMT Jazz Interest Group (SMT-Jazz) is to promote scholarship in the discipline of jazz theory.
Dear SMT Jazz Interest Group members,
We conducted our 25th annual meeting in Columbus. Twenty-seven individuals attended. After my opening welcome—in which I hoped to convey that our group is open to everyone interested in jazz theory and analysis at any career stage—Janna Saslaw announced the winner of the Steve Larson Award for Jazz Sch…[Read more]
Garrett Michaelsen deposited Making “Anti-Music”: Divergent Interactional Strategies in the Miles Davis Quintet’s The Complete Live at the Plugged Nickel 1965 in the group Society for Music Theory – Jazz Interest Group on Humanities Commons 2 weeks, 4 days ago
This article examines three improvisations by the Miles Davis Quintet from their recording The Complete Live at the Plugged Nickel 1965 through the lens of a new theory of musical interaction. It shows how the quintet favored divergent over convergent interactional strategies in the interpersonal, referent, role, and style domains in its quest to…[Read more]
Dear jazz interest group,
I’d like to officially announce the main topic of our meeting in Columbus this year and ask if you have any questions that we might consider as we plan. As I mentioned in an email to the old listserv earlier in the year, Dan Shanahan has graciously agreed to give us a workshop on corpus and computational methods of jazz…[Read more]
Marc Edward Hannaford deposited One Line, Many Views: Perspectives on Music Theory, Composition, and Improvisation through the Work of Muhal Richard Abrams in the group Society for Music Theory – Jazz Interest Group on Humanities Commons 3 months ago
This dissertation examines aspects of the creative practice of Muhal Richard Abrams, composer, improviser, pianist, and cofounder of the Association for the Advancement of Creative Musicians (AACM). Abrams’s work intersects with various facets of creative music. I focus on free improvisation, both as a stand-alone performance and in conjunction w…[Read more]
The SMT-Jazz Interest Group is currently soliciting nominations for the
2019 Steve Larson Award for Jazz Scholarship. This award acknowledges
outstanding contributions to the field of jazz theory and analysis.
Eligibility extends to books, chapters from books, articles, delivered
conference papers, dissertations, or theses that have been publ…[Read more]
David Mosher deposited Implicit Learning As A Means Of Tonal Jazz Pitch-Listening Skills Acquisition in the group Society for Music Theory – Jazz Interest Group on Humanities Commons 6 months, 1 week ago
In this dissertation, I present a method for developing tonal jazz pitch-listening skills (PLS) which is rooted in scientific experimental findings from the fields of music cognition and perception. Converging experimental evidence supports the notion that humans develop listening skills through implicit learning via immersive, statistically rich…[Read more]
Dear collected wisdom of SMT Jazz,
Does anyone have any details on the life and work of Milton Lee Stewart? His 1973 dissertation “Structural Development in the Jazz Improvisational Technique of Clifford Brown” from University of Michigan might be the first detailed application of Schenkerian analysis to jazz improvisation (besides Forte’s 1958…[Read more]
Previous theories emphasize tonal jazz’s undeniable continuity with European tonality. Here, I argue that some of its features are better understood as developments of the African-American musical tradition. As a simple example, consider the gesture ^3–1 to end a phrase. Schenkerian theory would explain this as an elided ^3–2–1, a gesture commo…[Read more]
Garrett Michaelsen deposited Chord-Scale Networks in the Music and Improvisations of Wayne Shorter in the group Society for Music Theory – Jazz Interest Group on Humanities Commons 10 months, 2 weeks ago
In this article, I examine the nonfunctional harmony of three tunes from the mid-1960s by Wayne Shorter from the perspective of transformational theory. While some transformational approaches to jazz have taken the seventh or ninth chord as the basic unit, I use the more inclusive and abstract concept of a “chord scale” to encompass more of the…[Read more]
Garrett Michaelsen deposited Rhythm Changes, Improvisation, and Chromaticism: Who Could Ask for Anything More? in the group Society for Music Theory – Jazz Interest Group on Humanities Commons 10 months, 2 weeks ago
This article discuss the ways rhythm changes can be used in music theory instruction.
This chapter proposes an application of topic theory to jazz improvisation. It introduces the concept of a “groove topic” and defines the expressive correlations of a variety of common jazz grooves. The chapter then traces the unfolding groove topics in Miles Davis’s celebrated 1964 solo on “My Funny Valentine.”