|
|
|
|
| LEADER |
00000cam a2200000 i 4500 |
| 001 |
on1121420812 |
| 003 |
OCoLC |
| 005 |
20240504213016.0 |
| 006 |
m o d |
| 007 |
cr cnu---unuuu |
| 008 |
190920t20202020nyuag ob 001 0deng |
| 010 |
|
|
|a 2019042475
|
| 040 |
|
|
|a DLC
|b eng
|e rda
|c DLC
|d OCLCF
|d OCLCO
|d EBLCP
|d OCLCQ
|d N$T
|d STBDS
|d YDX
|d IUL
|d MYG
|d BRX
|d UKAHL
|d OCLCO
|d OCLCQ
|d OCLCO
|d VLB
|d OCLCL
|
| 019 |
|
|
|a 1147909137
|a 1200188797
|
| 020 |
|
|
|a 9780190923419
|q electronic book
|
| 020 |
|
|
|a 0190923415
|q electronic book
|
| 020 |
|
|
|a 9780190923402
|q electronic book
|
| 020 |
|
|
|a 0190923407
|q electronic book
|
| 020 |
|
|
|a 9780190923396
|q electronic book
|
| 020 |
|
|
|a 0190923393
|q electronic book
|
| 020 |
|
|
|z 9780190923389
|q hardcover
|
| 035 |
|
|
|a (OCoLC)1121420812
|z (OCoLC)1147909137
|z (OCoLC)1200188797
|
| 042 |
|
|
|a pcc
|
| 050 |
0 |
4 |
|a ML419.P4
|b M37 2020
|
| 049 |
|
|
|a HCDD
|
| 100 |
1 |
|
|a Martin, Henry,
|d 1950-
|e author.
|
| 245 |
1 |
0 |
|a Charlie Parker, composer /
|c Henry Martin.
|
| 264 |
|
1 |
|a New York, NY :
|b Oxford University Press,
|c [2020]
|
| 264 |
|
4 |
|c ©2020
|
| 300 |
|
|
|a 1 online resource (xxvii, 338 pages) :
|b illustrations, music
|
| 336 |
|
|
|a text
|b txt
|2 rdacontent
|
| 337 |
|
|
|a computer
|b c
|2 rdamedia
|
| 338 |
|
|
|a online resource
|b cr
|2 rdacarrier
|
| 504 |
|
|
|a Includes bibliographical references and index.
|
| 520 |
|
|
|a "Charlie Parker, Composer is the first assessment of a major jazz composer's oeuvre in its entirety. Providing analytical discussion of each of Parker's works, this study combines music-theoretical, historical, and philosophical perspectives. A variety of analytical techniques are brought to bear on Parker's compositions, including application of a revised Schenkerian approach to the music that was developed through the author's prior publications. After a review of Parker's life emphasizing his musical training and involvement in composition, the book proceeds by considering the types of Parker pieces as categorized by overall form and harmony and the amount of preplanned music they contain. The historical circumstances of each piece are reviewed, and, in some cases, sources of the ideas of the most important tunes are explored. The introduction includes a discussion of the ontology of a jazz composition. The view is advanced that the Western concept of a music composition needs to be expanded to embrace practices typical of jazz composition and forming a significant part of Parker's work. While focusing on Parker's more conventional tunes, the book also considers his large-scale melodic formulas. Two formulas in particular are arguably compositional, since they are repeated in subsequent performances of the same piece. As part of the research for this book, all of Parker's copyright submissions to the Library of Congress were examined and photographed. The book reproduces the four of them that were copied by Parker himself"--
|c Provided by publisher.
|
| 505 |
0 |
|
|a Cover -- Half title -- Charlie Parker, Composer -- Copyright -- Dedication -- Contents -- List of Examples and Tables -- Preface and Acknowledgments -- Introduction: Jazz Composition and Parker as Jazz Composer -- The Jazz Composition -- Improvisations Becoming Jazz Compositions -- Authoritative Recordings -- Creating a Chronological List of Parker Compositions -- Categorizing Parker Compositions -- Prior Studies and Analytical Approaches -- 1. Music Background and Compositional Overview -- Early Experiences and Training in Music -- Early Compositions
|
| 505 |
8 |
|
|a Roots of Bebop, Hines, Eckstine, and the Partnership with Gillespie -- Mature Compositional Career -- Unrecorded Compositions -- 2. 32-Bar Rhythm Changes Compositions -- 5. Red Cross (1944) -- 7. Shaw 'Nuff (1945, co-composed with Dizzy Gillespie) -- 18. Moose the Mooche (1946) -- 10. Thriving from a Riff (1945) -- 26. Dexterity (1947) -- 55. Passport (1949) -- 3. Other 32-Bar AABA Compositions -- 1. Yardbird Suite (1940-1941) -- 16. Alesia (1945) -- 9. Confirmation (1945) -- 67. My Little Suede Shoes (1951) -- 80. Throckmorton the Plumber (1954) -- 84. Tail Feathers (1955?)
|
| 505 |
8 |
|
|a 4. 32-Bar ABAC Compositions -- 17. Ornithology (1945, co-composed with Benny Harris) -- 22. Donna Lee (1947) -- 36. Quasimodo (1947) -- 51. Cardboard (1949) -- 5. Through-Composed Blues in C -- 21. Relaxin' at Camarillo (1947) -- 24. Cheryl (1947) -- 27. Bongo Bop (1947) -- 38. Bongo Beep (1947) -- 47. Perhaps (1948) -- 52. Visa (1949) -- 54. Passport (1949) -- 72. Back Home Blues (1951) -- 75. Cosmic Rays (1952) -- 77. Dum Dum (1954) -- 82. Bongo Bird (1955?) -- 6. Through-Composed Blues in Other Keys -- 2. Wichita Blues (1940, co-composed with Jay McShann?) -- 29. The Hymn (1947)
|
| 505 |
8 |
|
|a 31. Bird Feathers (1947) -- 35. Big Foot (1947) -- 57. Bloomdido (1950) -- 59. Mohawk (1950) -- 73. Laird Baird (1952) -- 12. Billie's Bounce (1945) -- 43. Barbados (1948) -- 64. Au Privave (1951) -- 69. Blues for Alice (1951) -- 70. Si Si (1951) -- 78. Half-Pass-Fass (1954) -- 76. Chi Chi (1953) -- 79. Yashitaki-Mikimoko (1954) -- 83. Gerry Bird (1955?) -- 7. 32-Bar Compositions with A Section or Partial A Section -- 19. Bird's Nest (1947) -- 23. Chasin' the Bird (1947) -- 44. Ah-Leu-Cha (1948) -- 28. Dewey Square (1947) -- 32. Klactoveesedstene (1947) -- 33. Scrapple from the Apple (1947)
|
| 505 |
8 |
|
|a 48. Marmaduke (1948) -- 34. The Bird (1947) -- 37. Charlie's Wig (1947) -- 45. Constellation (1948) -- 49. Steeplechase (1948) -- 53. Segment (1949) -- 58. An Oscar for Treadwell (1950) -- 63. Ballade (1950, co-composed with Coleman Hawkins) -- 71. Swedish Schnapps (1951) -- 74. Kim (1952) -- 81. Tukki-Wukki (1954) -- 8. Riff Blues -- 3. Hootie Blues (1940-1941, co-composed with Jay McShann) -- 4. The Jumpin' Blues (1941-1942, co-composed with Jay McShann) -- 13. Now's the Time (1945) -- 20. Cool Blues (1947) -- 25. Buzzy (1947) -- 39. Another Hair Do (1947) -- 40. Bluebird (1947)
|
| 588 |
|
|
|a Description based on online resource; title from digital title page (Oxford Scholarship Online, viewed on July 24, 2020).
|
| 600 |
1 |
0 |
|a Parker, Charlie,
|d 1920-1955
|x Criticism and interpretation.
|
| 600 |
1 |
7 |
|a Parker, Charlie,
|d 1920-1955
|2 fast
|
| 650 |
|
0 |
|a Jazz
|y 1941-1950
|x History and criticism.
|
| 650 |
|
0 |
|a Jazz
|y 1951-1960
|x History and criticism.
|
| 650 |
|
7 |
|a Jazz
|2 fast
|
| 648 |
|
7 |
|a 1941-1960
|2 fast
|
| 655 |
|
7 |
|a Criticism, interpretation, etc.
|2 fast
|
| 758 |
|
|
|i has work:
|a Charlie Parker, composer (Text)
|1 https://id.oclc.org/worldcat/entity/E39PCFX7G8KBDJhJRQfQqbfqFC
|4 https://id.oclc.org/worldcat/ontology/hasWork
|
| 776 |
0 |
8 |
|i Print version:
|a Martin, Henry, 1950-
|t Charlie Parker, composer
|d New York : Oxford University Press, 2020.
|z 9780190923389
|w (DLC) 2019042474
|w (OCoLC) 1120783981
|
| 856 |
4 |
0 |
|u https://holycross.idm.oclc.org/login?auth=cas&url=https://academic.oup.com/book/40566
|y Click for online access
|
| 903 |
|
|
|a OUP-SOEBA
|
| 994 |
|
|
|a 92
|b HCD
|