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B Creative Practice as Research: Third Stream Performance, Composition and
Musicology
Creative practice in music making, whether performance or composition, contributes
significantly to cultural research and to the growth and development of new knowledge. By
composing and performing an original musical work, the musician expands the repertoire of
contemporary music, thereby enhancing the growth of new work. The research question a
musician explores in this process includes the compositional craft of the original work, the
music theory underpinning the composition, and the technical and interpretative nuances
entailed in performance of the work. This paper explores the contribution of an example of
third stream composition and performance to cultural literature and musical repertoire,
explains the research methodology applied to the analysis of the work and the results of this
analysis, and discusses the application of this research to music practice and music education;
aligning the music composition and performance within the research/teaching/learning nexus.
The paper addresses themes of creative praxis as a form of research, creative arts pedagogies,
creative practice and translation, Ph.Ds in Creative Arts and the function of the Exegesis in
the writing process, and creative practice and cultural capital.
My doctoral project Crossing the great divide: the composition of jazz concerti using
historical sources (year?) consisted of composing two jazz concerti (large-scale music
compositions for solo piano, jazz ensemble, big band and symphony orchestra) and writing a
thesis that explored the third stream genre (merging jazz and classical music) which these
concerti represent, analysed my concerti and related compositions, and evaluated the
contribution of my compositions to third stream repertoire. My Piano Concerto No.1 explores
the application of traditional (classical) concerto form to a modern jazz context and styles.
This was achieved through the following compositional techniques:
- structuring Movement One in first movement concerto form with a double exposition
(orchestra then solo piano);
- constructing the movement on two identifiable, contrasting themes or subjects which
are introduced in the exposition, explored through improvisation in the development,
and restated in the recapitulation;
- presenting Movement Two as the traditional slow movement which gains its beauty
from a lyrical melody and the exploration of timbral blends;
- structuring Movement Three in a minuet and trio form that becomes a jazz waltz
scherzo;
- contrasting the classical instrumental combination of string quartet with a jazz trio,
then combining these disparate ensembles into a unified musical group;
- employing rondo form for Movement Four, a structure frequently used in the finale of
concerti and sonatas;
- basing this rondo movement on a recurrent bebop theme whose entries are divided by
contrasting episodes; and
- developing themes in the jazz idiom of variation and improvisation, while also
interpreting them in romantic classical style.
A significant proportion of the creative product of this concerto is comprised of
improvisation; a skill fundamental to classical concerto (in which cadenzas were frequently
improvised), but which declined in classical music performance in the twentieth century. My
inclusion of improvisation in this jazz concerto has reinstated the role of improvisation as an
intrinsic compositional element and creative force in the jazz concerto genre.
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The Third Movement of Piano Concerto No. 1 explores the research questions of
composing a classical minuet and trio for string quintet, then changing it to a jazz waltz and
scherzo for jazz trio, then merging these two musical styles and ensembles to create a third
stream interpretation of the movement. The musical elements that were manipulated to create
this movement include form (structure), rhythm, melody and thematic treatment, harmony
and tonality, texture, orchestration and timbre, style and mood, the relationship of improvised
to composed music, and soloing. The treatment of these musical elements in the third
movement of Piano Concerto No. 1 is analysed below.
Form
This movement is an adaptation of traditional minuet and trio da capo form. The
movement consists of two main sections that are in turn played by a classical string quintet
and a jazz trio. On the da capo the two instrumental sections, and thus the contrasting musical
styles, combine. Although the speed does not change, the rhythmic style of the string quintet
section is more measured and formal like a minuet; and the rhythmic style of the jazz trio
sections is more lively and playful like a scherzo. The minuet (sections A-D) is in ternary
form: section A states the theme, B is the contrasting middle section, C is the recapitulation of
A, and D is the coda. The scherzo (sections E-H) follows the same structure as the minuet but
is the jazz version of the minuet. The trio (sections I-J) is in binary form. This is initially
heard by the string quintet in classical style. The trio is then repeated (sections K-L) by the
jazz ensemble. The movement concludes with the minuet/scherzo (sections M-P) that merges
the two instrumental ensembles and fuses both classical and jazz styles.
Rhythm
The third movement is characterised by a moderate 3/4 tempo at 152 beats per minute,
and a steady sustained rhythmic movement mainly in dotted minims. This rhythmic feel is
used in section A to establish the flowing legato style of the minuet. It is elaborated slightly in
section B by minim crotchet movement in the melody and descending countermelodic lines
consisting of shorter note values. The relatively slow rhythmic movement in the minuet is
also contained by a dotted minim ground bass featured in the contrabass. A syncopated
weak/strong effect in section B adds variety to this line. These effects, which make the
contrasting section busier, also provide stark contrast to the syncopated dance-like jazz
rhythms found in the scherzo. While the tempo of the movement remains the same
throughout, the scherzo has the more vivacious sprightly rhythmic feel of a jazz waltz. This is
created by a swung 3/4 drum pattern and pizzicato walking bass. These effects are enhanced
by the piano interpretation of the melody which includes the jazz nuances of playing around
the beat through anticipation and delay, and elaborating on the melodic material over a
stabbing, syncopated left-hand accompaniment. The contrasting middle section F features a
more rhythmically active interpretation of the melody in the piano part, through rests, triplets,
irregular phrasing, accents and ornamental motifs. The jazz piano nuances continue in the trio
(sections K-L) and are enhanced by a syncopated double bass figure. The rhythmic
characteristics of the legato string quintet and the swing waltz that combine in the da capo
section (M-P) integrate all the jazz and classical nuances that have appeared previously. This
culminates in a recapitulation of the head (section O) where the piano improvises over a
syncopated, non-chordal string interpretation of the melody.
Melody/thematic treatment
Movement Three is based on two melodic ideas. The theme for sections A and C is a slow
moving sustained legato melody, beginning with a repeated note, which is then answered by
three imitative descending phrases. The theme is voiced in block harmony by upper strings
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over a cello countermelody and a descending ground bass. Section B contrasts with the
opening theme, having more movement and greater melodic range. It consists of four bar
imitative arch-shaped phrases. The contour of this melody grows wider as the theme is
developed. The minuet theme is developed through a jazz interpretation in the scherzo
(section E). This includes rhythmic alteration of the melodic line, improvisatory fills,
ornaments and displaced, accented melody notes. The wide contour of section B is expanded
in section F, where the melody covers a greater pitch range, displays more irregular jagged
phrasing and includes ornamental motivic ideas. Further development of the minuet theme
occurs in the recapitulatory section G, where the piano improvises a swing jazz waltz upon
this theme over its given harmonic progression. The development of the minuet theme is
presented in the da capo sections M-P. Here the theme is presented in two very different
musical styles (classical and jazz) simultaneously, displaying sustained legato phrasing in the
strings and syncopated improvisatory interpretation in the jazz trio. Increasingly the string
quintet adopts jazz nuances such as the contrabass doubling the double bass line. The
movement culminates in a piano improvisation on the theme accompanied by the drums and
double bass over a syncopated block chord statement of the theme by strings in sections O
and P.
Harmony/tonality
The chordal language of Movement Three encompasses the dichotomy between classical
and jazz interpretations of harmony. The string quintet sections of minuet and trio display
classically voiced harmonisations of thematic material. The minuet is set in the key of D
major with the trio modulating to the relative B minor, a common choice in traditional minuet
and trio form. This tonality remains the same for the jazz trio sections, but the harmonic
interpretation of chords is more altered and extended. The minuet’s A section begins with a
repeated D major drone that moves to the chords Gma7, Em9, F#m7 and Bm7, later passing
through F#, B and G#7, thereby moving the harmony away from the chordal vocabulary
diatonic to D major. The middle B section has more harmonic diversity, moving in a series of
ii-V progressions. The recapitulation (section C) returns to the opening theme. While the
upper strings sustain repeated chords in sections A and C, harmonic interest is added by the
descending movement of the ground bass. This has the effect of altering the flavour of these
chords, adding tension and increasing tonal movement. Section B is given more tonal variety
by the inclusion of cello countermelodies and falling suspensions.
In the scherzo, the piano left hand part features jazz voicings of the same harmonic
progressions. These chords are usually clustered in inversion and stabbed on the off-beats of
the bar. Common extensions include major 7ths, minor 9ths, 11ths and 13ths. Some
diminished and augmented chords are also used. The tonal effect of the descending contrabass
line established in the minuet is repeated by the double bass in the scherzo as it walks through
the chord progression, beginning each bar on the corresponding note of the ground bass
pattern. The sustained string tonic chord featured at the end of the minuet is replaced by an
octave pedal point in the bass to end the scherzo. The trio is based on similar harmonic ideas
in the relative key B minor, featuring a high repeated note over sustained chords, cello
countermelody and ground bass. At the end of section J harmonic changes occur in each bar,
to lead into the jazz trio interpretation of the movement’s repeated trio section (K-L). In this
part, the pianist is free to perform left-hand chordal accompaniment in the voicing and rhythm
of his/her discretion. This provides interpretative and creative freedom to the soloist and can
result in a more altered and extended harmonic vocabulary.
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The creative concept of this movement focuses on the presentation of thematic material in
two contrasting styles, classical and jazz; through very different performing media of string
quintet and jazz trio, within the formal structure of a minuet and trio. The da capo section pf
the movement (M-P) unites the two genres as each instrumental group plays its statement of
the theme simultaneously. Thus, both classical and jazz interpretations of the piece’s harmony
are brought together.
Texture/Orchestration/Timbre
Movement Three is based on a dichotomy between two contrasting instrumental
ensembles, string quintet and trio. The traditional reduction in orchestration found in the trio
of classical third movements is emulated in this piece by scoring the classical minuet and trio
sections lightly for one of each stringed instrument: violin I, violin II, viola, cell, contrabass.
This creates the sparser texture of a string quintet rather than using full orchestral string
sections. The scherzo and jazz trio sections are scored lightly, written for a jazz ensemble of
piano, double bass and drums. From the final eight bars of the jazz statement of the trio
(section L) and throughout the da capo (sections M-P) the two ensembles combine. The
minuet begins in homophonic block harmony over a descending ground bass line. The
opening melody is stated by violins then answered by the viola. In section B a descending
cello countermelody and syncopated contrabass line add polyphony interest to the texture. In
both the minuet and trio sections, the relationship between the upper strings (playing a
repeated harmonic statement of the theme) and the descending ground bass pattern establishes
oblique motion between the parts. Tension is increased in section I by a sustained viola line,
ascending in contrary motion to the contrabass and obliquely against the repeated melodic
lines.
The jazz scherzo and its trio (sections E-L) are orchestrated for typical jazz trio of piano,
double bass and drums. The texture throughout these sections is homophonic, with the right
hand of the piano stating and embellishing the theme over an accompaniment of left hand stab
chords, a swung waltz drum pattern and walking pizzicato bass line. The first note of each bar
in the double bass parts corresponds with the contrabass’ ground bass figure, thus continuing
the harmonic and textural concepts established in the classical sections. The da capo section
features thicker polyphonic texture with both instrumental sections combining their
interpretations of the theme. Violins and viola continue their harmonised statement of the
melody while the piano performs, in counterpoint, its syncopated and embellished version.
Contrabass and double bass double the pizzicato walking pattern to retain the light, dance-like
jazz feel of the scherzo. The ground bass is now provided by the cello, but in section N the
cello returns to its countermelodic role. The final thematic statement (sections O-P) enriches
the creative concepts of M with an improvised piano solo and syncopated off-beat phrasing of
the theme in strings.
Style/Mood
The merging of classical and jazz styles, which is the principal creative impetus of Piano
Concerto No.1, is fundamental to its third movement. Classical features are exhibited in the
minuet and trio. These characteristics include:
- the instrumentation for classical string chamber ensemble of violin I, violin II, viola,
cello and double bass
- its classical approach to melody using simple but elegant melodic lines with smooth
classical contours and symmetrical phrasing
- its classical approach to harmony featuring diatonic harmonisation of thematic
material
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- standard tonal relationships such as the modulation of the trio to the relative minor
- moderate dynamic range
- stately rhythmic feel through the use of dotted minims at moderate tempo.
The mood created by these compositional devices is one of elegance and restraint, typical of a
classical minuet. More tension and poignancy is evident in the trio (I-J) through its minor
tonality, higher register, louder dynamics and conflicting textural patterns.
The jazz flavour of the scherzo and its corresponding trio (sections K-L) is gained
through:
- its instrumentation for standard jazz trio of piano, double bass and drums
- the swing waltz rhythmic feel of the drums and the pizzicato walking bass line
- the extension and alteration of harmonic vocabulary
- the interpretation of chordal rhythm and voicing according to jazz piano performance
- syncopation and embellishment of thematic material
- the inclusion of improvised piano solos over the theme and chord progressions
- rhythmic nuances such as accents and tenuti, displacement of beats and irregular
phrasing
- melodic ornamentation using crushed notes and octave displacement of themes.
The mood created in the scherzo and its trio is more upbeat and lively. The playful character
of the scherzo is established through the swung jazz waltz feel and the improvisatory style of
the piano interpretation. This creative flexibility is given more freedom by the provision of
solo opportunities for the pianist.
The two contrasting styles, classical and jazz, converge in the da capo. The scherzo
character is retained by the swung jazz drum rhythm and walking pizzicato bass. The jazz
interpretation of the melody continues in the piano part through M and N, then becomes
improvised from section O. These jazz nuances keep the mood vibrant, but it is given depth
and substance by the stabilising influence of the strings performing the theme in sustained,
legato harmonised phrases. This creative equilibrium is also balanced by the restraining effect
of the classical formal structure of the piece. Creative and stylistic tension builds throughout
the da capo as this section is more densely scored with thicker texture and many
compositional ideas coming together.
Relationship of improvised to composed music
The classical sections of Movement Three (played by the string quintet) are fully notated,
reflecting the traditional style of the minuet and its trio. In section O of the da capo, the
strings adopt a more jazz-inspired approach to the rhythm and phrasing of the theme, but its
score is still fully composed. While the nature of the jazz scherzo is improvisatory in style,
most of this section is also notated. However, the drummer has the creative freedom to
interpret the notated pattern in the manner of a jazz chart, following the score for guidance in
style, form and tempo, but performing rhythmic patterns, feels, fills and accents according to
his/her expertise and stylistic judgement.
The repeated head of the scherzo (sections G-H and O-P) and the second trio (K-L)
provide opportunity for the piano to improvise. The left hand piano, double bass and drums
are allowed flexibility in these sections to accompany the soloing in the manner of a jazz
ensemble, taking cues from the soloist and supporting and enhancing the creative ideas of the
soloist by appropriate musical responses. The improvisation is given melodic, harmonic and
formal structure as it is required to develop the thematic material, pass through given chord
progressions and only last for the prescribed number of bars.
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In the final da capo sections, the combination of classical and jazz styles is demonstrated
by the piano improvisation over the composed thematic statements of the strings. This scoring
pre-determines some of the choices of the pianist in terms of dynamics, mood and harmony,
but also invigorates the more formal character of the composed section by complementing it
with music created spontaneously and freely.
The first piano improvisation over the scherzo section (G-H) introduces a motif then
answers it, usually in four-bar phrases. This technique creates much dialogue. The solo
ending is decorated with short repeated motifs. The second solo is played over the trio section
(K-L). The contrasting character of this section, inherent in its minor tonality and high pitch
placement, is increased in the piano improvisation. The piano part is more forceful and has
greater energy, featuring crushed chords and rapid passages. The final solo is heard over the
concluding statement of the minuet, played in syncopation by the strings (O-P). This energetic
solo features crushed chords, rapid descending sequences based on increasingly wider
intervals moving through more outside imitations. The solo concludes with a repeated motif
based on the 9th and 5th of the key.
Contribution to creative arts pedagogy
This creative work contributes to both classical and contemporary music pedagogy. The
piece can be used as an exemplar for university music students studying composition and
those training in music education. A vocational requirement of university music education
students is to be able to teach music composition in a variety of genres, as outlined in the
secondary school music syllabi. Movement Three (sections A-D, I-J) is a useful example of
classical repertoire that demonstrates standard minuet and trio form with traditional
instrumentation and classical period stylistic nuances. Its classical sections have particular
compositional interest in the ground bass line, countermelodies and oblique texture. The
movement can also be used to teach students the compositional craft of rearranging a musical
work into different styles; i.e. changing a classical piece into jazz, and combining the two
styles into third stream. Study of the jazz sections of Movement Three (E-H, K-L) can
develop students’ skills in melodic treatment, thematic development, harmonic voicing,
stylistic rhythmic authenticity, orchestration and improvisation. The final sections (M-P) can
be studied as an example of third stream repertoire, a fusion of classical and jazz styles;
demonstrating the compositional techniques of melodic statement combined with thematic
improvisation, stabilising jazz rhythms by a ground bass line, blending instrumental sections
and timbres, and maintaining classical formal structure whilst providing scope for
improvisation.
Movement Three is a valuable resource for students of contemporary music theory. The
piece demonstrates homophonic harmonisation of melody, two-part and three-part sectional
harmonisation, contrapuntal textural arrangement, extended chord vocabulary and voicing, the
application of scale/chord harmony for improvisation, and writing rhythmic feels authentic to
particular musical styles. Using this piece as a musicological resource, contemporary music
theory students can develop their skills in musical analysis, score reading and interpretation,
and aural perception by recognising notated musical elements in the recording of the piece.
Including my original creative work as a resource for the education of contemporary
music students aligns my teaching practice within the research/teaching/learning nexus;
underpinning creative work and performance with music theory and musicological research.
The composition is the product of creative work and music performance, the research includes
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the generation of new knowledge through the creation of repertoire with intellectual rigour
gained through the application of musical analysis to the score, the composer/educator uses
this repertoire as a teaching resource, and the students learn skills in composition, musicology
and musicianship through study of the work.
PhDs in Creative Arts and the function of the Exegesis in the writing process
The topic of my doctoral study Crossing the great divide: the composition of jazz concerti
using historical sources was the jazz concerto: its nature, musical characteristics, the
influences of significant musicians on its development, and my contribution to the literature
and repertoire of this genre. I used my study of this musical genre as a conceptual framework
from which to compose two jazz concerti, thus creating new repertoire in third stream fusion
(an integration of classical and jazz styles). Four research questions emerged:
1. What is the nature of the jazz concerto?
2. How have classical and jazz styles combined to create this genre?
3. What role has the creative process and/or instrumental virtuosity of individual
musicians played in the development of the jazz concerto?
4. What do my research and compositions contribute to this field?
My thesis (exegesis) consisted of seven chapters, which may be summarised as follows:
i)
Introduction – which identified the study’s central topic and secondary research
issues, defined the research questions, and explained the significance and scope of
the study.
ii)
Methodology – which explained the theoretical and practical methodologies that
guided this study. The theoretical component was based on an extended model of
Heen’s (1981) style analysis methodology. The practical process of sequencing
and recording the two concerti I composed was also explained.
iii)
Literature Review – which analysed the available literature in relation to the
research questions.
iv)
Repertoire Analysis – which analysed a selection of significant repertoire that
represent the jazz concerto, extended form jazz compositions, orchestral jazz and
jazz works influenced by classical music.
v)
Analysis of Piano Concerto No. I – a detailed stylistic analysis of my first piano
concerto as an example of the jazz concerto genre.
vi)
Analysis of Piano Concerto No. 2 – a detailed stylistic analysis of my second
piano concerto as an example of the jazz concerto genre.
vii)
Conclusion – which summarised the findings of the research questions and
evaluated the contribution of my doctoral work to the literature and repertoire of
the jazz concerto.
This thesis (exegesis) was an integral component of my doctoral project. It provided a
conceptual framework for the research, a justification of the methodology, an investigation of
existing literature and repertoire, an analysis of my concerti through a rigourous
musicological approach, and placed my research and creative works within an historical
context. The thesis also explored my compositional process and evaluated my work within the
third stream genre. The conceptual framework of my Doctoral thesis can be applied to:
- identify, analyse and categorise representative repertoire
- assist in understanding the compositional and performance intent and function of
selected musical works, thereby translating cultural information
- acknowledge the role of the jazz concerto genre (a cultural artefact) in technical and
compositional advances in creative expression, and
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-
extend traditional definitions of this genre to accommodate more contemporary
interpretations.
I use the conceptual framework on which my thesis was based to inform my teaching
practice in the education of higher degree music students. These students, whether at
Honours, Master or Doctoral level, generally devise a project that consists primarily of
creative work in music performance, composition, recording, or some combination of these;
plus an exegesis explaining the nature of their project, the musical context of their creative
work, their creative process, the new knowledge their work generates, and an evaluation of its
influence. Through writing the exegesis, students make a comparative study of related work
(creative and literary) and evaluate the quality and contribution of this body of work and their
own project. This written work creates a body of reference for other music performers,
composers, producers, musicologists and academics. The exegesis is not only necessary to
justify the quality and authenticity of the student’s project, but is an educative tool that
informs and explains the nature, intent and product of a specialised creative work in a way
that non-musicians may understand. Therefore, the thesis or exegesis broadens the scope and
influence of a creative music project and translates it into a cultural artefact available to other
academic disciplines (particularly related creative arts such as visual arts, media, humanities
and cultural studies) and the broader community.
Creative practice and cultural capital
The composition and performance of original music is an example of creative practice.
Musical repertoire and its performance are this creative practice’s contribution to cultural
capital. Products of creative musical practice include extensive repertoires of music in a
diversity of styles and genres, holisitic educational curricula that embrace the study of music
practice and appreciation, the annotation of human society by the provision of a musical
soundtrack to human development, emotions, aspirations and cultural practice; and the
enrichment of the human condition through appreciation of the beauty, complexity and
artistry of music.
The jazz concerto genre has a relatively small repertoire. Its development stemmed from
the desire for composers and instrumentalists to express their technical and creative virtuosity
free from the restrictions of traditional formal structures found in jazz composition (e.g.
AABA 32 bar song form) and the fully notated prescription of classical concerto writing.
Compositional experiments contributing to the development of the jazz concerto genre
include:
- expansions in formal structure (Duke Ellington, John Coltrane)
- the integration of classical and jazz musical styles (Igor Stravinsky, Aaron Copland,
Chick Corea)
- inclusion of improvisation as a significant formal and creative component of the
concerto (Coltrane, Corea, Don Banks), and
- the juxtaposition of a jazz soloist and ensemble with classical orchestra (Corea,
Patrick Williams).
The creative process and instrumental virtuosity of significant individual musicians has
resulted in the development of the jazz concerto genre. The improvising abilities of Mozart
and Beethoven elevated the classical concerto cadenza to a vehicle for virtuosity and technical
showmanship (Veinus, 1963, 41). Mozart’s concerti enhanced the dominant role of the solo
instrument (60), while Beethoven refined concerto form by dispensing with the double
exposition (143). Paganini and Liszt expanded on these developments by elevating the level
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of instrumental technique, timbral resource and virtuosic brilliance of their instrumental
performances (169, 200, 213). Early twentieth century developments by Stravinsky, George
Gershwin and Copland included the integration of jazz and classical genres to create
symphonic compositions that shared musical elements and characteristics from both styles,
such as jazz rhythm and symphonic orchestration.
The role of the band leader was crucial to the development of the jazz concerto. Directing
a large professional musical ensemble with several talented virtuoso sidemen provided Duke
Ellington with an ideal vehicle for the exploration of form, technique and timbral colour,
whilst capitalising on the unique abilities of his sidemen. Ellington is credited with taking jazz
into ‘extended works format’ (Gridley, 1991, 107), and expanding the repertoire with four
jazz concerti. Charles Mingus extended the pathways opened by Ellington, expanding
boundaries in compositional structure through extended form works, exploiting the timbral
and improvisatory potential of his instrumentalists (286) and elevating the role of the double
bass to a melodic, improvising instrument. In his extended form works, Mingus also explored
compositional solutions to some inherent musical problems (research questions) found in the
jazz concerto, such as the successful integration of composed and improvised music (286) and
the balance between spontaneous virtuosity and tasteful artistic judgement.
The musical collaborations of Miles Davis and Gil Evans on the album Sketches of Spain
combined Impressionist orchestral timbres and some classical source material (Rodrigez,
Concierto de Aranjuez) with jazz interpretative and improvisatory techniques. This
collaboration resulted in creative works displaying extraordinary tone colours, instrumental
blends and voicing arrangements. The integration of jazz harmony, voicings, rhythms and
improvisation with Impressionist approaches to orchestration and the interpretation of
classical source material continued in the creative output of pianist Bill Evans. Evans’ sparse
piano style provided greater improvisatory freedom for other band members (307), liberating
the piano, bass and drums from their traditional rhythm section roles (308). Stan Kenton
continued the expansion of the orchestral tone palette, including unusual instrumentations
such as sections of mellophones, flugelhorn solos, suspended cymbal sounds blending into
brass colours, and jazz for orchestral strings (Fischer, 1983, 33) in his arrangements.
Coltrane’s contribution to the development of the jazz concerto elevated the standard of
technical, timbral and improvisatory quality in his compositions and performances. Coltrane
authenticated the relevance and usefulness of extended formal structures in the expression of
improvised and composed jazz. The creation of extended form works like A Love Supreme
through Coltrane’s technique of composing while improvising (Porter, 1983, 195) validates
the role of the creative practice of improvisation as a fundamental structural component of the
jazz concerto and extended form musical compositions.
Because of the continual endeavour of musicians (creative practitioners) to attain
technical excellence and to communicate (translate) their creative inspiration, a large-scale
music genre built on the drama of this expression has emerged (the jazz concerto – a cultural
artefact). Contemporary music trends increasingly include the integration of disparate musical
styles (e.g. third stream, fusion, world music), resulting in eclectic repertoire that synthesises
and enriches the artistic practices of many diverse cultures (cultural capital). In his 1999
Concerto, Chick Corea expands the scope of the jazz concerto by integrating classical, jazz
and Latin American musical styles.
Conclusion
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As a musician and composer, my artistic practice expands new knowledge by the creation
of musical repertoire. This paper analyses one movement of Piano Concerto No.1. My
musicological study of the jazz concerto genre and analysis of representative works
contributes to research and literature about this subject. My teaching practice as a music
educator utilises my original creative works as learning resources, develops musicological
skills in students and applies the findings of current research; thereby providing a model
creative arts pedagogy and aligning my practice in the research/teaching/learning nexus. My
artistic practice is not an isolated creative activity divorced from traditional types of research
and scholarly endeavour, but a fundamental component of a portfolio of complementary interrelated creative, intellectual and educative endeavours, that is my contribution to generating
knowledge and creating cultural capital.
References
Fischer, Dr. Larry. “Jazz band innovations: educational and aesthetic alternatives to the
standard instrumentation, Proceedings of NAJE Research, 3, NAJE Publications,
Manhattan, 1983. Page range?
Gridley, Mark. Jazz Styles. 4th ed. Prentice Hall, Englewood Cliffs, 1991.
Heen, Carol. Procedures for style analysis of jazz: a beginning approach. Ph.D thesis.
University of Minnesota, City? 1981.
Mitchell, Anne. Crossing the great divide: the composition of jazz concerti using historical
sources. Ph.D thesis. Southern Cross University, Lismore. 2003.
Mitchell, Anne. Piano Concerto No.1. Ph.D thesis. Southern Cross University, Lismore. 2003.
Veinus, Abraham. The Concerto. General Publishing Co, Ltd., Toronto, 1963.