Claudio Vedovati

Introduzione alle tecniche compositive del jazz

Introduzione alle tecniche compositive del jazz Libri

In questa bibliografia ho indicato i testi che possono aiutare a

studiare musicologicamente il jazz e la sua storia. La lista lunga,

non per disorientare nella scelta, ma per dare visibilit alla

molteplicit degli approcci e fornire contemporaneamente una vaga

idea di un campo di studi in continua evoluzione. Mancano le

raccolte di testimonianze, le biografie, le autobiografie, le guide ai

repertori, facilmente rintracciabili in altre bibliografie.

La ricerca musicologica non documentata solo sui libri. Anzi lo

solo parzialmente. Molte cose si trovano in forma di tesi

universitaria o come saggi su riviste musicologiche specializzate: ad

esempio, Journal of Jazz Studies (poi Annual Review of Jazz

Studies); il Jazzforschung/Jazz Research; Black Music Research

Journal. Le tesi universitarie sono riproducibili attraverso il servizio

dellUMI (University Microfilms International), mentre le riviste si

possono consultare in alcune biblioteche universitarie italiane (ad

esempio, quella del DAMS di Bologna). Impossibile accennare ad

articoli usciti su riviste dattualit musicale: rimando qui, senza

ulteriori specificazioni, ai brevi saggi di analisi musicale di Marcello

Piras e di Stefano Zenni pubblicati nella rubrica Dentro le note di

Musica Jazz, nel corso degli anni Ottanta e Novanta. Per quanto

riguarda le fonti musicali scritte partiture, trascrizioni,

orchestrazioni, ecc. ho scelto solo alcuni lavori noti ed esemplari.

Claudio Vedovati

Introduzione alle tecniche compositive del jazz 2

Leditoria italiana non stata generosa con il jazz. La produzione

nostrana di bassa qualit, tranne le dovute eccezioni. Dallestero si

traducono preferibilmente i volumi pi accattivanti dal punto di

vista letterario, quasi sempre biografie ed autobiografie di musicisti

pi che noti. Non si traducono invece le storie del jazz, gli studi

musicologici, le monografie critiche, i testi di teoria e di didattica, gli

strumenti di ricerca e di consultazione come le enciclopedie, i

dizionari, le bibliografie e le discografie.

Non stato sempre cos. La critica italiana ha prodotto opere di

qualit, frutto di conoscenze di prima mano: tra queste Il jazz di

Arrigo Polillo. Negli anni Cinquanta era stata tradotta la storia del

jazz di Marshall Stearn, negli anni Sessanta quella di Barry Ulanov e

alla fine dello stesso decennio Einaudi proponeva Il popolo del

blues di LeRoy Jones. A questi anni che sono gli anni di maggiore

visibilit della questione razziale negli Stati Uniti come delle

movimenti terzomondisti risale anche lultima grande ondata di

traduzioni dedicate alla storia afroamericana: Roger Bastide, Eric

Williams, Gilberto Freyre, David Brion Davis, Comer Vann

Woodward, C.R.L. James, Eugene D. Genovese, Miguel Barnet, ecc.

Poi, a partire dalla met degli anni Settanta, il vuoto. Le eccezioni si

contano sulle dita di una mano: in ambito jazzistico, i lavori di

Gunther Schuller sul jazz classico e sullo swing certosinamente

curati da Marcello Piras e unedizione deludente di Stompin the

Blues di Albert Murray.

Recentemente si sono riaccese le luci sulla letteratura

afroamericana, sulla spinta di alcuni premi Nobel (Derek Walcott,

Claudio Vedovati

Introduzione alle tecniche compositive del jazz 3

Toni Morrison) e dellinfluenza dei postcolonial studies anche nelle

universit italiane.

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Introduzione alle tecniche compositive del jazz 4

Storie generali del jazz

Rudi Blesh, Shining Trumpets: A History of Jazz (New York: Knopf 1976)James Lincoln Collier, The Making of Jazz: A Comprehensive History

(Boston: Houghton-Mifflin Co. 1978)Mervin Cooker-David Horn (edited by), The Cambridge Companion to

Jazz (Cambridge: Cambridge University Press 2003)Will Friedward, Jazz Singing: America's Great Voices from Bessie Smith to

Bebop and Beyond (New York: Scribners & Sons 1990)Ted Gioia, The History of Jazz (New York: Oxford University Press

1997)Mark Gridley, Jazz Style: History and Analysis (Englewood Cliffs, N.J.:

Prentice-Hall 1978)Nat Hentoff-Albert J. McCarthy (edited by), Jazz: New Perspectives on

the History of Jazz (New York: Rinehart & Co. 1959)LeRoy Jones, Blues People (New York: William Morrow 1967) [trad. it.:

Il popolo del blues, Torino: Einaudi 1968]Bill Kirchner (edited by), The Oxford Companion to Jazz (New York:

Oxford University Press 2000)Paul Oliver-Max Harrison-William Bolcom, The New Grove Gospel,

Blues and Jazz (London, Macmillan 1986)Arrigo Polillo, Jazz (Milano: Mondadori 1975)Lewis Porter-Michael Ullman, Jazz: From its Origins to the Present

(Englewood Cliffs, N.J.: Prentice-Hall 1993)Frederick Jr. Ramsey-Charles Edward Smith, Jazzmen (New York:

Limelight 1939)Nat Shapiro-Nat Hentoff (edited by), The Jazz Makers: Essays on the

Greats of Jazz (New York: Da Capo Press 1979)Nat Shapiro-Nat Hentoff (edited by), Hear Me Talkin to Ya (New York:

Dover 1966)Alyn Shipton, A New History of Jazz (London: Continuum 2001)Eileen Southern, The Music of Black Americans: A History (New York:

W.W. Norton 1997)Marshall Stearns, The Story of Jazz (New York: Oxford University Press

1956) [trad. it.: La storia del jazz, Milano: Edizioni Librerie Italiane1957]

Frank Tirro, Jazz: A History (New York: W.W. Norton 1977)

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Introduzione alle tecniche compositive del jazz 5

Barry Ulanov, A History of Jazz in America (New York: Viking Press1952) [trad. it.: Storia del jazz in America, Torino: Einaudi 1965]

Martin Williams, The Jazz Tradition (New York: Oxford UniversityPress 1970)

Martin Williams (edited by), The Art of Jazz: Essays on the Nature andDevelopment of Jazz (New York: Oxford University Press 1959)

Strumenti di ricerca e di consultazioneGary Carner, Jazz Performers: An Annotated Bibliography of Biographical

Materials (Westport, Conn.: Greenwood Press 1990)Philippe Carles-Andr Clergeat-Jean-Louis Comolli, Dictionnaire du

jazz (Paris: Laffont 1994) [trad. it.: Dizionario di Jazz, Roma: Curcio1989]

Mervyn Cooke, The Chronicle of Jazz Years by Years (London: Thamesand Hudson 1997)

Samuel A. Floyd (edited by), International Dictionary of Black Composers,2 vols. (Chicago: Fitzroy Dearborn Publishers 1999)

John Gray, Fire Music: A Bibliography of the New Jazz 1959-1990(Westport, Conn.: Greenwood Press 1991)

Todd S. Jenkins, Free Jazz and Free Improvisation: An Encyclopedia, 2 vols.(Westport, Conn.: Greenwood Press 2004)

Barry Kernfeld (edited by), The New Grove Dictionary of Jazz, 2 vols.(London: Macmillan 2001)

Tom Lord, The Jazz Discography, CD-ROM version 4.4 (WestVancouver: Lord Music Reference 2004)

Brian Rust, Jazz Records, 1897-1942, 2 vols. (Chigwell, Essex: Storyville1982)

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

Carl Gregor Herzog zu Mecklenburg, International Bibliography of JazzBooks, 2 vols. (Baden-Baden: Verlag Valentin Koerner 1983-1988)

La critica jazzisticaAndrew Clark (edited by), Riffs and Choruses: A New Jazz Anthology

(London: Continuum 2001)

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Introduzione alle tecniche compositive del jazz 6

Scott DeVeaux, Constructing the Jazz Tradition [1991] reprinted inRobert G. O'Meally (edited by), The Jazz Cadence of American Culture(New York: Columbia University Press 1998) [trad. it.: Creare latradizione: introduzione alla storiografia jazz, in Maurizio Franco(a cura di), Il jazz fra passato e futuro (Lucca: LIM 2001)]

Krin Gabbard, The Jazz Canon and its Consequences (AnnualReview of Jazz Studies, 5/1993) [anche in: Krin Gabbard (edited by),Jazz Among the Discourses (Durham, N.C.: Duke University Press1995)]

John Gennari, "Jazz Criticism: Its Development and Ideologies" (BlackAmerican Literature Forum, 25/3, Fall 1991)

Robert Gottlieb (edited by), Reading Jazz: A Gathering of Autobiography,Reportage, and Criticism from 1917 to Now (New York: PantheonBooks 1996)

Ingrid Monson, "The Problem with White Hipness: Race, Gender, andCultural Conceptions in Jazz Historical Discourse" (Journal ofAmerican Musicological Society, 48/3, Fall 1995)

Eric Porter, What is this Thing Called Jazz? African American Musicians asArtists, Critics, and Activists (Berkeley, Ca.: University of CaliforniaPress 2002)

Lewis Porter (edited by), Jazz: A Century of Change. Readings and NewEssays (New York: Schirmer 1997)

Robert Walser (edited by), Keeping Time: Readings in Jazz History (NewYork: Oxford University Press 1999)

Estetica e sociologia del jazzGena Dagel Caponi (edited by), Signifyin(g), Sanctifyin', and Slam

Dunking: A Reader in African American Expresive Culture (Anherst:University of Massachusetts Press 1999)

Samule A. Floyd, Ring Shout! Literary Studies, Historical Studies andBlack Music Inquiry (Black Music Research Journal, vol.11, no. 2,Fall 1999)

Samuel A. Floyd, The Power of Black Music: Interpreting its History fromAfrica to the Unites States (New York: Oxford University Press 1995)

Krin Gabbard (edited by), Jazz Among the Discourses (Durham, N.C.:Duke University Press 1995)

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Nicholas Gebhardt, Going for Jazz: Musical Practices And AmericanIdeology (Chicago: University of Chicago Press, 2001)

Charley Gerard, Jazz in Black and White: Race Culture, and Identity in theJazz Community (Westport, Conn.: Greenwood Press 1998)

Ted Gioia, The Imperfect Art: Reflections on Jazz and Modern Culture(New York: Oxford University Press 1988)

Travis A. Jackson, Jazz Performance as Ritual: The Blues Aestheticand the African Diaspora, in Ingrid Monson (edited by), The AfricanDiaspora: A Musical Perspective (New York: Garland 2000)

Franz Kofsky, Black Music, White Business: Illuminating the Historical &Political Economy of Jazz (New York: Pathfinder 1998)

Neil Leonard, Jazz and the White Americans: The Acceptance of a New ArtForm (Chicago: University of Chicago Press 1962)

Graham Lock, Blutopia: Visions of the Future and Revisions of the Past inthe Work of Sun Ra, Duke Ellington, and Anthony Braxton (Durham,N.C.: Duke University Press 1999)

Alan Lomax, "The Homogeneity of African-Afro-American MusicalStyle", in Norman E. Whitten-John F. Szwed (edited by), Afro-American Anthropology: Contemporary Perspectives (New York: FreePress 1970)

Paul Lopes, The Rise of a Jazz Art World (Cambridge: CambridgeUniversity Press, 2002)

Susan McClary-Robert Walser, Theorizing the Body in African-American Music (Black Music Research Journal, vol. 14, no 1,Spring 1994)

Albert Murray, Stompin the Blues (New York: McGraw-Hill 1977)[trad. it.: Ballando i blues, Bologna: Clueb 1999]

Robert G. O'Meally (edited by), The Jazz Cadence of American Culture(New York: Columbia University Press 1998)

Luigi Onori, Jazz e Africa (Anzio: De Rubeis 1996)Leroy Ostransky, Jazz City: The Impact of Our Cities in the Development of

Jazz (Englewood Cliffs, N.J.: Prentice-Hall 1978)Burton W. Peretti, Jazz in American Culture (Chicago: Ivan R. Dee 1997)Ben Sidran, Black Talk (New York: Holt, Rinehart & Winston 1971)Christopher Small, Music in Common Tongue: Survival and Celebration in

Afro-American Music (New York: Riverrun Press 1987)

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Ortiz M. Walton, Music: Black, White and Blue: A Sociological Survey ofthe Use and Misuse of Afro-American Music (New York: WilliamMorrow 1972)

Norman C. Weinstein, A Night in Tunisia: Imagines of Africa in Jazz(Metuchen, N.J.: Scarecrow Press 1992)

Olly Wilson, The Association of Movement and Music As aManifestation of a Black Conceptual Approach to Music-Making[1981], in Irene V. Jackson (edited by), More Than Dancing: Essays onAfro-American Music and Musicians (Westport, Conn.: GreenwoodPress 1985)

Analisi musicale e linguaggio jazzisticoJacques Aboucaya-Jean-Pierre Peyrebelle, Du be-bop au free jazz. Formes

et techniques dimprovisation chez C. Parker, M. Davis et O. Coleman(Toulouse: Presses Universitaire du Mirail 2001)

Philippe Baudoin, Jazz: mode d'emploi, 2 vols. (Paris: Outre Misure1986)

Paul F. Berliner, Thinking in Jazz: The Infinite Art of Improvisation(Chicago: University of Chicago Press 1994)

David Borgo,The Play of Meaning and the Meaning of Play in Jazz(Journal of Consciousness Studies, 11, no. 3-4, March/April 2004)

John Brownell, Analytical Models of Jazz Improvisation(Jazzforschung/Jazz Research, 26/1994)

Thomas Brothers, Solo and Cycle in African-American Jazz (TheMusical Quartely, 78/1994)

Vincenzo Caporaletti, La definizione dello swing. I fondamenti estetici deljazz e delle musiche audiotattili (Teramo: Ideasuoni Edizioni 2000)

Daniel Fischlin-Ajay Heble (edited by), The Other Side of Nowhere: Jazz,Improvisation, and Communities in Dialogue (Middletown, Conn.:Wesleyan University Press 2004)

Luke O. Gillespie, Literacy, Orality, and the Parry-Lord Formula:Improvisation and the Afro-American Jazz Tradition (InternationalReview of the Aesthetics and Sociology of Music, 2/1991)

Mark Haywood, The Harmonic Role of Melody in Vertical andHorizontal Jazz (Annual Review of Jazz Studies, 5/1991)

Andr Hodeir, Hommes et problmes du jazz (Paris: Flammarion 1954)[trad. it.: Uomini e problemi del jazz, Milano: Longanesi 1958]

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Vijay S. Iyer, Microstructures of Feel, Macrostructures of Sound: EmbodiedCognition in West African and African-American Musics, (Dissertation,University of California 1998)

Barry Kernfeld, How to Listen for in Jazz (New Haven, Conn.: YaleUniversity Press 1995)

Franz Krieger, Jazz-Solopiano: Zum Stilwandel am Beispielausgewhlter 'Body and Soul'--Aufnahmen von 1938-1992(Jazzforschung/Jazz Research, 27/1995)

Gerhard Kubik, Presenza della musica africana nel jazz, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, vol. 1, IlNovecento (Torino: Einaudi 2001)

Wendell Logan, The Ostinato idea in Black Improvised Music (TheBlack Perspective in Music, 2/1984)

Henry Martin, Jazz Harmony: A Syntactic Background (AnnualReview of Jazz Studies, 4, 1988)

Portia K. Maultsby, "Africanisms in African-American Popular Music"in Joseph E. Holloway (edited by), Africanisms in American Culture(Bloomington: Indiana University Press 1990)

Ingrid Monson, Doubleness and Jazz Improvisation: Irony, Parodyand Ethnomusicology (Critical Inquiry, 20/1994)

Ingrid Monson, Saying Something: Jazz Improvisation and Interaction(Chicago: University of Chicago Press 1996)

Georges Paczynski, Una histoire de la batterie de jazz. Des origines auxanns swing (Paris: Outre Mesure 1997)

Joseph A. Prgler, Searching for Swing: Participatory Discrepanciesin the Jazz Rhythm Section (Ethnomusicology, 39/1, 1995)

Paul Rinzler, Preliminary Thoughts on Analyzing Musical Interactionamong Jazz Performers (Annual Review of Jazz Studies, 4, 1988)

Winthrop Sargeant, Jazz Hot & Hybrid (New York: Arrow Editions1938)

Gary Tomlinson, Cultural Dialogics and Jazz: A White HistorianSignifies (Black Music Research Journal, vol. 11, n. 2, Fall 1991)

Christopher Washburne, The Clave of Jazz: A CaribbeanContribution to the Rhythmic Foundation of an African-AmericanMusic (Black Music Research Journal, vol. 17, no. 1, Spring 1997)

Richard A. Waterman, "African influence on the music of theAmericas", in Sol Tax (edited by), Acculturation in the Americas(Chicago: University of Chicago Press 1952)

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Olly Wilson, The Significance of the Relationship between Afro-American Music and West African Music (The Black Perspective inMusic, 2/1974)

Olly Wilson, Black Music As an Art Form (Black Music ResearchJournal, 3/1983)

Olly Wilson, "The Influence of Jazz on the History and Developmentof Concert Music," in David N. Baker (edited by), New Perspectives onJazz (Washington: Smithsonian Institution Press 1990)

Olly Wilson, "The Heterogeneous Sound Ideal in African AmericanMusic," in Josephine Wright (edited by), New Perspectives on Music:Essays in Honor of Eileen Southern (Warren, Mich.: Harmonie ParkPress 1992)

La nascita del jazz e il jazz di New OrleansWalter C. Allen-Brian Rust (revised by Laurie Wright), King Oliver

(Chigwell, Essex: Storyville 1987)Tim Brooks, Lost Sounds: Black and the Birth of the Recording Industry

1890-1919 (Urbana, University of Illinois Press 2004)H.O. Brunn, The Story of Original Dixieland Jazz Band (Baton Rouge:

Louisiana State University Press 1960)John Chilton, Sidney Bechet: The Wizard of Jazz (New York: Oxford

University Press 1988)R. Collins, New Orleans Jazz: The Development of American Music From

the Origin to the Big Bands (New York: Vantage Press 1996)Daniel Hardie, Exploring Early Jazz: The Origin and the Evolution of the

New Orleans Style (Lincoln, Ne.: Universe 2001)Richard H. Knowles, Fallen Heroes: A History of New Orleans Brass Bands

(New Orleans: Jazzology Press 1996)Karl Koenig (edited by), Jazz in Print 1855-1929: An Anthology of Early

Source Readings in Jazz History (Hillsdale, N.Y.: Pendragon Press2002)

Alan Lomax, Mister Jelly Roll: The Fortunes of Jelly Roll Morton(Berkeley: University of California Press 1973)

Tom Lord, Clarence Williams (Chigwell, Essex: Storyville 1978)Donald M. Marquis, In Search of Buddy Bolden (Baton Rouge: Louisiana

State University Press 1978)

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Introduzione alle tecniche compositive del jazz 11

William J. Schafer, Brass Bands and the New Orleans Jazz (Baton Rouge:Louisiana State University Press 1977)

Martin Williams, Jazz Masters of New Orleans (New York: Macmillan1967)

Il jazz degli anni venti: opere generaliSamuel Charters-Leonardt Kunstadt, Jazz: A History of the New York

Scene (New York: Da Capo Press 1962)Richard Hadlock, Jazz Masters of the Twenties (New York: Macmillan

1965)Daphne Duval Harrison, Black Pearls: Blues Queens of the 1920s (New

Brunswick: Rutgers University 1988)Thomas J. Hennessy, From Jazz to Swing: Afro-American Jazz Musicians

and Their Music 1890-1935 (Detroit: Wayne State University Press1994)

Rick Kennedy, Jelly Roll, Bix and Hoagy: Gennett Studios and the Birth ofRecorded Jazz (Bloomington: University of Indiana Press 1999)

William H. Kenney, Chicago Jazz: A Cultural History 1904-1930 (NewYork: Oxford University Press 1993)

Giorgio Lombardi, New Orleans, Chicago, New York (Anzio: De Rubeis1993)

Roland Morris, Wait Until Dark: Jazz and the Underworld 1880-1940(Bowling Green, Oh.: Bowling Green University Popular Press 1980)

Kathy J. Ogren, The Jazz Revolution: Twenties America and the Meaning ofJazz (New York: Oxford University Press1992)

Burton W. Peretti, Creation of Jazz: Music, Race and Culture in UrbanAmerica (Urbana: University of Illinois Press 1994)

Gunther Schuller, Early Jazz: Its Roots and Musical Development (NewYork: Oxford University Press 1968) [trad. it.: Il jazz. Le origini,Torino: Edt 1996; Il Jazz. Il periodo classico, Torino: Edt 1996]

Richard M. Sudhalter, Last Chorus: White Musicians and theirContribution to Jazz 1915-1945 (New York: Oxford University Press1999)

Ted Vincent, Keep Cool: The Black Activists Who Built the Jazz Age(London: Pluto 1995)

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Louis ArmstrongH. David Caffey, The Musical Style of Louis Armstrong, 1925-1929

(Journal of Jazz Studies, 3, no. 1, Fall 1975)Gary Giddins, Satchmo: The Genius of Louis Armstrong (New York:

Doubleday 1988)Stefano Zenni, Louis Armstrong (Roma: Stampa Alternativa 1996)Il jazz degli anni Venti: biografie e analisi musicaliWalter C. Allen, Hendersonia: The Music of Fletcher Henderson and his

Musicians (Highland Park, N.J.: Allen 1973)Gene Andrews, Blues for You, Johnny: Johnny Dodds and his Wild

man Blues Recordings of 1927 and 1938 (Annual Review of JazzStudies, 8, 1996)

Scott E. Brown-Robert Hilbert, James P. Johnson: A Case of MistakeIdentity (Metuchen, N.J.: Scarecrow Press 1986)

John Chilton, Sidney Bechet: The Wizard of Jazz (New York: OxfordUniversity Press 1987)

J. Kaplan, Paul Whiteman: A Life (New York: Simon & Schuster 1986)Jeff Jeckovich, "The Forms and Orchestration of Five Jelly Roll Morton

Piano Solos" (Annual Review of Jazz Studies, 3/1985)Ed Kirkeby, Ain't Misbehavin': The Story of Fats Waller (New York:

Dodd, Mead & Co. 1975)Lawrence O. Koch, "Structural Aspects of King Oliver's 1923 Okeh

Recordings" (Journal of Jazz Studies, 3, no. 2, Spring 1976)Paul S. Machlin, Stride: The Music of Fats Waller (New York: Macmillan

1985)Peter J. Silvester, A Left Hand Like God: A History of Boogie Woogie Piano

(New York: Da Capo Press 1988)Milton L. Stewart, "Earl Hines's 'Trumpet' Piano Style: The Influence of

Louis Armstrong" (Annual Review of Jazz Studies, 4/1988)Richard M. Sudhalter-Philip R. Evans-William Dean Myatt, Bix. Man &

Legend: The Life of Bix Beiderbecke (New Rochelle, N.Y.: ArlingtonHouse 1974)

Duke EllingtonKurt Dietrich, Dukes Bones: Ellingtons Great Trombonists (Rottenburg:

Advance Music 1995)

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Peter Gammond, Duke Ellington: His Life and His Music (New York: DaCapo Press 1958)

John Edward Hasse, Beyond Category: The Life and Genius of DukeEllington (New York: Simon & Schuster 1993)

Wolfram Knauer, Simulated Improvisation in Duke EllingtonsBlack, Brown and Beige (The Black Perspective in Music, 1-2/1990)

David Metzer, Shadow Play: The Spiritual in Duke Ellingtons Black,Tan and Fantasy (Black Music Research Journal, vol. 17, no. 2, Fall1997)

Ken Rattenburg, Duke Ellington: Jazz Composer (New Haven, Conn.:Yale University Press 1990)

Mark Tucker, Ellington: The Early Years (Urbana: University of IllinoisPress 1991)

Mark Tucker (edited by), The Ellington Reader (New York: OxfordUniversity Press 1993)

Mark Tucker (edited by), Duke Ellingtons Black, Brown and Beige(Black Music Research Journal, vol. 13, no. 2, Fall 1993)

Walter Van De Leur, Something to Live For: The Music Of Billy Strayhorn(New York: Oxford University Press, 2002)

Stefano Zenni, The Aesthetics of Duke Ellington's Suites. The Case of'Togo Brava', (Black Music Research Journal, vol. 21, no. 1, Spring2001)

Il jazz della crisi e la Swing Era: opere generaliStanley Dance, The World of Swing: An Oral History of Big Band Jazz

(New York: Da Capo Press 1974)Lewis Erenberg, Swingin the Dream: Big Band Jazz and the Rebirth of

American Culture (Chicago: University of Chicago Press 1998)Dave Oliphant, Texan Jazz (Austin: University of Texas Press 1996)Nathan W. Pearson, Goin' to Kansas City (Urbana: University of Illinois

Press 1988)Ross Russell, Jazz Style in Kansas City and the Southwest (Berkeley:

University of California Press 1971)Gunther Schuller, The Swing Era (New York: Oxford University Press

1989) [tard. It.: Il jazz. Lera dello swing. I grandi maestri, Torino: Edt1999; Il jazz. Lera dello swing. Le grandi orchestre, Torino: Edt 1999]

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Arnold Shaw, 52nd Street: The Street of Jazz (New York: Da Capo Press1983)

George T. Simon, The Big Bands (New York: Schirmer 1967)David W. Stowe, Swing Changes: Big Band Jazz in New Deal

America (Cambridge, Mass.: Harvard University Press 1994)Rex Stewart, Jazz Masters of the Thirties (New York: Macmillan 1972)

Il jazz della crisi e la Swing Era: biografie e analisi musicaliWilliam R. Bauer, "Billie Holiday and Betty Carter: Emotion and Style

in the jazz Vocal Line" (Annual Review of Jazz Studies, 6/1993)Morroe Berger-Edward Berger-James Patrick, Benny Carter: A Life in

American Music (Metuchen, N.J.: Scarecrow Press 1982)Frank Bchmann-Mller, You Got to Be Original, Man!: The Music of

Lester Young (Westport, Conn.: Greenwood Press 1990)Frank Bchmann-Mller, You Just Fight for Your Life: The Story of Lester

Young (Westport, Conn.: Greenwood Press 1990)John Chilton, Billie's Blues: The Billie Holiday Story (New York: Da Capo

Press 1975)John Chilton, The Song of the Hawk: The Life and Recordings of Coleman

Hawkins (London: Quartet Books 1990)James Lester, Too Marvelous For Words: The Life and Genius of Art Tatum

(New York: Oxford University Press 1994)Lewis Porter, Lester Young (Boston: Twayne Publ. 1985)Lewis Porter (edited by), A Lester Young Reader (Washington, D.C.:

Smithsonian Institution Press 1991)Howard Spring, "The Use of Formulas in the Improvisations of Charlie

Christian" (Jazzforschung/Jazz Research, 22/1990)

Il jazz moderno: opere generaliClora Bryant et al., Central Avenue Sounds: Jazz in Los Angeles 1930's-

1950's (Berkeley: University of California Press 1998)Scott DeVeaux, The Birth of Bebop: A Social and Musical History

(Berkeley: University of California Press 1997)Leonard Feather, Inside Bebop (New York: J.J. Robbins 1949)Ted Gioia, West Cost Jazz: The Modern Jazz in California 1945-1960 (New

York: Oxford University Press 1994)

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Ira Gittler, Swing to Bop: An Oral History of the Transition in Jazz in the40's (New York: Oxford University Press 1986)

Ira Gittler, Jazz Masters of the Forties (New York: Macmillan 1966)Joe Goldberg, Jazz Masters of the Fifties (New York: Macmillan 1965)Robert Gordon, Jazz West Coast: The Los Angeles Jazz Scene of the 1950's

(New York: Quartet Books 1986)Kenny Mathieson, Giant Steps: Bebop and the Creators of Modern Jazz

1945-1965 (Edinburgh: Canongate 2002)Kenny Mathieson, Cookin: Hard Bop and Soul 1954-1965 (Edinburgh:

Canongate 2002)Dave Oliphant (edited by), The Bebop Revolution in Words and Music

(Austin: University of Texas Press 1992)Thomas Owens, Bebop: The Music and Its Players (New York: Oxford

University Press 1995)Jon Panish, The Color of Jazz: Race and Representation in Postwar

American Culture (Jackson: University of Mississippi Press 1997)Jeff Pressing, "Pitch-Class Set-Structures in Contemporary Jazz"

(Jazzforschung/Jazz Research, 14/1982)David H. Rosenthal, Hard Bop: Jazz and Black Music 1955-1965 (New

York: Oxford University Press 1992)Steven Strunk, The Harmony of Early Bop: A Layered Approach

(Journal of Jazz Studies, 6, no. 1, Fall/Winter 1979)Steven Strunk, "Bebop Melodic Lines: Tonal Characteristics" (Annual

Review of Jazz Studies, 3/1985)Alain Tercinet, West Coast Jazz (Marseille: Parenthses 1986)J. Kent Williams, Archetypal Schemata in Jazz Themes of the Bebop

Era (Annual Review of Jazz Studies, 4/1988)

Charlie ParkerLawrence O. Koch, Yardbird Suite: A Compendium of the Music and Life of

Charlie Parker (Bowling Green, Oh.: Bowling Green State UniversityPress 1988)

Henry Martin, Charlie Parker and the Thematic Improvisation (Metuchen,N.J.: Scarecrow Press 1996)

Thomas Owens, Charlie Parker: Techniques of Improvisation, 2 vols.(UMI-University Microfilms International 1974)

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Scott Sandvik, "Polyharmony, Polymeter, and Motivic Development inCharlie Parker's 'Klact-oveeseds-tene' (Take 1) Solo"(Jazzforschung/Jazz Research, 24/1992)

Carl Woideck, Charlie Parker: His Music and Life (Ann Arbor: TheUniversity of Michigan Press 1996)

Thelonious MonkRob van der Bliek (edited by), The Thelonious Monk Reader (New York:

Oxford University Press 2001)Leslie Gourse, Straight No Chaser: The Life and Genius of Thelonious Monk

(New York:Schirmer 1998)Mark S. Haywood, "Rhythmic Readings in Thelonious Monk" (Annual

Review of Jazz Studies, 7/1994-95)Peter Hollerback, "The Sound of Surprise: The Politics of Thought and

Action in the Music of Thelonious Monk" (International JazzArchives Journal, 1, no. 3, Fall 1995)

Lawrence O. Koch, "Thelonious Monk: Compositional Techniques"(Annual Review of Jazz Studies, 2/1983)

James Kurzdorfer, Outrageous Clusters: Dissonant Semitonal Cells inthe Music of Thelonious Monk (Annual Review of Jazz Studies, 8,1996)

Mark Tucker (edited by), New Perspectives on Thelonious Monk(Black Music Research Journal, vol. 19, no. 2, Fall 1999)

Miles DavisIan Carr, Miles Davis (London: Grafton 1982) [tard. it.: Miles Davis,

Milano: Arcana 1982]Jack Chambers, Milestones: The Music and the Times of Miles Davis, 2

vols. (New York: William Morrow 1983-85)Randall Reyman, "An Analysis of Melodic Improvisational Practices of

Miles Davis" (Jazz Research Papers, 7/1987)Eddie S. Meadows, "The Miles Davis-Wayne Shorter Connection:

Continuity and Change" Jazzforschung/Jazz Research, 20/1988)Paul Tingen, Miles Beyond: The Electric Explorations of Miles Davis 1967-

1991 (New York: Billboard, 2003)

Claudio Vedovati

Introduzione alle tecniche compositive del jazz 17

Robert Walser, "Out of Notes: Signification, Interpretation, and theProblem of Miles Davis" [1993], in Krin Gabbard (edited by), JazzAmong the Discourses, (Durham, N.C.: Duke University Press 1995)

Il jazz moderno: biografie e analisi musicaliFranois Billard, Lennie Tristano (Montpellier: ditions du Limon 1988)Jonathan Finkleman, "Charlie Christian, Bebop, and the Recordings at

Minton's" (Annual Review of Jazz Studies, 6/1993)Alan Groves-Alyn Shipton, The Glass Enclosure: The Life of Bud Powell

(Oxford: Bayou Press 1993)Eddie S. Meadows, "Prolegomenon to the Music of Horace Silver"

(Jazzforschung/Jazz Research, 18/1986)Thomas Owens, "The Fugal Pieces of the Modern Jazz Quartet"

(Journal of Jazz Studies, 4, no. 1, Fall 1976)Gunther Schuller, "Sonny Rollins and the Challenge of Thematic

Improvisation" (The Jazz Review, 1, no. 1, November 1958);reprinted in Musings: The Musical Worlds of Gunther Schuller (NewYork: Oxford University Press 1986)

Alyn Shipton, Groovin' High: The Life of Dizzy Gillespie (New York:Oxford University Press 1999)

Milton L. Stewart, "Structural Development in the JazzImprovisational Technique of Clifford Brown" (Jazzforschung/JazzResearch, 6-7/1974-75)

Milton L. Stewart, "Some Characteristics of Clifford Brown'sImprovisations Style" (Jazzforschung/Jazz Research, 11/1979)

Il jazz dagli anni Sessanta ad oggi: opere generaliSteven Block, "Pitch-class Transformation in Free Jazz" (Music Theory

Spectrum, 12, no. 2, Fall 1990)Michael Budds, Jazz in the Sixties: The Expansion of Musical Research and

Techniques (Iowa City: University of Iowa Press 1978)Giampiero Cane, Canto nero. Il free jazz degli anni Sessanta (Rimini-

Vicenza: Guaraldi 1973)

Claudio Vedovati

Introduzione alle tecniche compositive del jazz 18

Phillippe Carles-Jean-Louis Comolli, Free Jazz/Black Power (Paris:ditions Champ Libre 1971) [trad. it.: Free Jazz-Black Power, Torino:Einaudi 1973]

Roger T. Dean, New Structures in Jazz and Improvised Music Since 1960(Buckingham: Open University Press 1992)

Gary Giddins, Rhythm-A-Ning: Jazz Tradition and Innovation in the 80's(New York: Oxford University Press 1985)

Mike Heffley, Northern Sun, Southern Moon: Europes Reinvention of Jazz(New Haven, Conn.: Yale University Press 2005)

Ekkehard Jost, Free Jazz (New York: Da Capo Press 1975)Franz Kofsky, Black Nationalism and the Revolution in Music (New York:

Pathfinder Press 1970) [ristampato come John Coltrane and the JazzRevolution of the 1960s, New York: William Morrow 1998]

John Litweiler, The Freedom Principle: Jazz After 1958 (New York:William Morrow 1984)

Stuart Nicholson, Jazz Rock: A History (New York: Schirmer 1998)Eric Nisenson, Blue: The Murder of Jazz (New York: St. Martins Press

1997)Scott Saul, Freedom is, Freedom Ain't: Jazz and The Making Of The Sixties

(Harvard, Mass.: Harvard University Press 2003)David G. Such, Avant-garde Jazz Musicians: Performing Out There

(Iowa City: University of Iowa Press 1993)Martin Williams, Jazz Masters in Transition 1957-1969 (New York:

Macmillan 1970)Valerie Wilmer, As Serious As Your Life: The Story of the New Jazz

(London: Quartet Books 1977)

Charles MingusBrian Priestley, Mingus: A Critical Biography (London: Paladin Books

1985)Stefano Zenni, Mingus in California, 1942-1949 (Quaderni di Siena

Jazz, 1/1994)Stefano Zenni, Charles Mingus. Polifonie delluniverso sonoro

afroamericano (Roma: Stampa Alternativa 2002)

Claudio Vedovati

Introduzione alle tecniche compositive del jazz 19

Ornette ColemanSteven Block, "Organized Sound: Pitch-Class Relations in the Music of

Ornette Coleman" (Annual Review of Jazz Studies, 6/1993)Eric Charry, "Freedom and Form in Ornette Coleman's Early Atlantic

Recordings" (Annual Review of Jazz Studies, 9/1997-1998)Michael Cogswell, "Melodic Organization in Two Solos by Ornette

Coleman" (Annual Review of Jazz Studies, 7/1994-95)John Litweiler, Ornette Coleman: A Harmolodic Life (New York: Da Capo

Press 1994)Lewis Porter, The Blues Connotation in Ornette Colemans Music

and Some General Thoughts on the Relation of Blues to Jazz(Annual Review of Jazz Studies, 7/1994-95)

John ColtraneBill Cole, John Coltrane (New York: Schirmer 1976)David Demsey, Chromatic Third Relation in the Music of John

Coltrane (Annual Review of Jazz Studies, 5/1991)David Liebman, "John Coltrane's Meditations Suite: A Study in

Symmetry" (Annual Review of Jazz Studies, 8/1996)Marcello Piras, John Coltrane (Roma: Stampa Alternativa 1993)Lewis Porter, John Coltrane: His Life and Music (Ann Arbor: University

of Michigan Press 1998)J.C. Thomas, Chasin' the Trane: The Music and the Mystique of John

Coltrane (Garden City, N.Y.: Doubleday 1975)

Il jazz dagli anni Sessanta ad oggi: biografie e analisi musicaliRoger Jannotta, "'God Bless the Child': An Analysis of an

Unaccompanied Bass Clarinet Solo by Eric Dolphy"(Jazzforschung/Jazz Research, 9/1978)

Robert Larson, "An Analysis of Bill Evans' Early Piano Style as Seen inthe Portrait in Jazz version of 'Blue in Green'" Jazz Research Papers,9/1989)

Peter Pettinger, Bill Evans: How My Heart Sings (New Haven, Conn.:Yale University Press 1998)

Paul Rinzler, "McCoy Tyner: Style and Syntax" (Annual Review of JazzStudies, 2/1983)

Claudio Vedovati

Introduzione alle tecniche compositive del jazz 20

Vladimir Simosko-Barry Tepperman, Eric Dolphy (New York: Da CapoPress 1971)

John F. Szwed, Space Is the Space: The Life and the Times of Sun Ra (NewYork: Da Capo Press 1997)

David Vayo, "Weather Report and the Expansion of Jazz Form"(Contemporary Music Forum, 3/1991)

Lynette Westendorf, "Cecil Taylor: Indent-'Second Layer'"(Perspectives of New Music, 33, nos. 1-2, Winter-Summer 1995)

Anthony BraxtonMike Heffley, The Music of Anthony Braxton (New York: Excelsior 1996)Graham Lock, Forces in Motion: Anthony Braxton and the Metareality of

Creative Music (New York: Da Capo Press 1979)Ronald M. Radano, New Musical Figurations: Anthony Braxton's Cultural

Critique (Chicago: University of Chicago Press 1993)

Teoria musicaleDavid Baker, Jazz Improvisation: A Comprehensive Study for All Players

(Chicago: Maher 1969)Bill Dobbins, Jazz Arranging and Composing: A Linear Approach

(Rottenburg: Advance Music 1986)Jerry Cooker, Improvising Jazz (Englewood Cliffs, N.J.: Prentice-Hall

1964)Franco DAndrea-Attilio Zanchi, Enciclopedia comparata delle scale e degli

accordi (Milano: Carish 1982)Russ Garcia, The Professional Arranger Composer (New York: Criterion

1954)Alan Jaffe, Jazz Theory (Dubuque, IA: W.C. Brown 1983) [ripubblicato

come Jazz Harmony (Rottenburg: Advance Music 1996)]Mark Levine, The Jazz Piano Book (Petaluma, Ca.: Sher Music 1990)Mark Levine, The Jazz Theory Book (Petaluma, Ca.: Sher Music 1996)David Liebman, A Chromatic Approach to Jazz Harmony and Melody

(Rottenburg: Advance Music 1986)John Mehegan, Jazz Improvisation, 4 vols. (New York: Watson-Guptill

1959-1965)

Claudio Vedovati

Introduzione alle tecniche compositive del jazz 21

Ron Miller, Modal Jazz Composition & Harmony (Rottenburg: AdvanceMusic 1992)

Sammy Nestico, The Complete Arranger (Milano: Ed. PiccoloConservatorio Nuova Milano Musica)

Scott D. Reeves, Creative Jazz Improvisation (Englewood Cliffs, N.J.:Prentice-Hall 1989)

George Russell, The Lydian Chromatic Concept of Tonal Organization forImprovisation (New York: Concept Publ. Comp. 1959)

William Russo, Composing for the Jazz Orchestra (Chicago: University ofChicago Press 1961)

Dereck Sbastian, Le son du jazz, 7 vols. (Paris: Alain Pierson 1984)Don Sebesky, The Contemporary Arranger (Sherman Oak, Ca.: Alfred

Publ. Comp. 1979)Jacques Siron, Le partiture intrieure. Jazz, musique improvises (Paris:

Outre Misure 1992)Mike Steinel, Building a Jazz Vocabulary: A Resource for Learning

Jazz Improvisation (Milwaukee: Hal Leonard 1995)Fred Sturm, Changing Over Time: The Evolution of Jazz Arranging

(Rottenburg: Advance Music 1995)

Alcuni esempi di fonti musicaliA Collection of 26 Ornette Coleman Compositions (New York: MJQ Music

1968)Jamey Aebersold-Ken Slone (trans. by), Charlie Parker Omnibook

(Hollywood: Almo Publ. 1978)David Baker, The Jazz Style of Clifford Brown (Hialeah, Fl.: Studio P/R

1982)James Dapogny, Ferdinand Jelly Roll Morton: The Collected Piano Music

(Washington, D.C.: Smithsonian Institution Press-Schirmer 1982)Steve Lajoie, Gil Evans & Miles Davis: Historic Collaborations 1947-1952

(Rottenburg: Advance Music 2004)Sue Mingus (edited by), Charles Mingus: More Than A Fake Book (New

York: Jazz Workshop 1991)The Real Book (Boston: Berklee College of Music 1974-75) [trascrizioni

illegali fatte dagli studenti]Riccardo Scivales (trans. by), Harlem Stride Piano Solos (Katonah, N.Y.:

Okay Music 1990)

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Introduzione alle tecniche compositive del jazz 22

The Bill Evans Trio Volume 1-3 (Milwaukee: Hal Leonard 2003-2004)The Music of John Coltrane (Milwaukee: Hal Leonard 1991)

Introduzione alle tecniche compositive del jazz LibriStrumenti di ricerca e di consultazioneLa critica jazzisticaEstetica e sociologia del jazzAnalisi musicale e linguaggio jazzisticoLa nascita del jazz e il jazz di New OrleansIl jazz degli anni venti: opere generaliLouis ArmstrongIl jazz degli anni Venti: biografie e analisi musicaliDuke Ellington

Il jazz della crisi e la Swing Era: opere generaliIl jazz della crisi e la Swing Era: biografie e analisi musiIl jazz moderno: opere generaliCharlie ParkerThelonious Monk

Miles DavisIl jazz moderno: biografie e analisi musicaliIl jazz dagli anni Sessanta ad oggi: opere generaliCharles MingusOrnette Coleman

John ColtraneIl jazz dagli anni Sessanta ad oggi: biografie e analisi musAnthony BraxtonTeoria musicaleAlcuni esempi di fonti musicali