The unbearable betweenness of being: Stories of identity and deviance between classical and jazz violin improvisation.

Abstract

Abstract

As a classically-trained violinist I experienced a creative and methodological tension when entering the field of jazz improvisation, relating to four different aspects:

(1) The tertiary jazz environment required chord-chart literacy and refined aural skills,

(2) The tertiary jazz environment emphasised rhythmic and chromatic language that was far removed from classical repertoire,

(3) The generation of spontaneous musical ideas was difficult due in part to perfectionist ideals cultivated in classical training, and

(4) Fingering challenges would arise when improvising through flat and sharp chords.

My motivation for this project has been to resolve these tensions, and discover an idiolectal voice that synthesises aspects of both classical violin and jazz improvisation. I have constructed a Method that utilises tonal motifs, extracted from classical repertoire, to create solo violin etudes over the harmony from jazz standards.

This Method is divided into three Levels, each of which aim to increase necessary skills for improvising. Level One deals with functional and technical concerns. These include chord-chart literacy, observing correct chord-scale relationships, and violin-specific fingering concerns when playing through disparate tonal centres. Level Two builds upon these skills, while introducing voice-leading and audiation skills.

Levels Two and Three incorporate aesthetic concerns, where musical 'storytelling' -the thematic, individualistic development of ideas - is paramount. In Level Two, classical motifs are used as inspiration to develop consonant stories. Level Three engages with cross-modal abstraction to develop unconventional, and potentially dissonant (understood here as 'deviant') stories. Level Three transcends the technical and functional, concerned instead with phenomenological experience in improvisation and composition.

This submission for the degree of Masters of Philosophy consists of a portfolio of original compositions and recorded works realised through practice-led research. The exegesis is divided into three parts. Part One presents research relevant to the situation of classically-trained improvisers, identifying challenges that classical musicians face when seeking to gain hybrid jazz skills. Part Two details various deliberate practice strategies devised to meet the primary challenges of jazz improvisation. Part Three discusses performed improvisations actualised through Levels Two and Three of the Method. Separate to the exegesis, a compendium is included, where notated original works and practice exercises are detailed.

This dissertation provides insights into the creative processes that are often undefined in improvisation, processes that can facilitate an emergent and intentional musical identity. This research explores modalities and methods available to improvisers who wish to transform the tonal beauty of classical motifs into improvised musical works. Show more