To browse Academia. I had a discussion with saxophonist Bruce Ackley, known primarily for his work with the Rova Saxophone Quartet, in March of Bruce shared his insights into Lacy's playing on the Disposability LP, particularly the rhythmic patterns Lacy had started to include in his improvisations at that time.
Thesis M. Bibliography: leaves JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
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Unaccompanied solo works by single-line instruments, however, have a more recent lineage. The s brought a plethora of solo recordings from an ever-increasing number of artists, many in the vanguard stream of the music.
This aesthetic development brought with it a number of issues to consider. In the absence of a score or standardized repertoire, as is often the case in this genre, what gives a composition its identity? What are the ontological implications of music that deviates from cyclical harmonic structures and the theme-and-variations format? If the sounding result of a composition is not its central identity, how does one examine or define such a work? The purpose of this study is to examine specific melodic elements of saxophonist David Binney.
The five improvised solos were selected from standard jazz repertoire that Binney has produced, as well as an improvisation from one of his compositions.
