Verfügbarkeit: Charlie Parker, the bird

Charlie Parker, the bird:

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Bibliographische Detailangaben
1. Verfasser:	Kjeldsen, Jens (VerfasserIn)
Format:	Buch
Sprache:	Danish
Veröffentlicht:	Århus Husets Forl. 2006
Ausgabe:	1. udg., 1. opl.
Schlagworte:	Parker, Charlie <1920-1955> Parker, Charlie > 1920-1955 African American jazz musicians > Biography Saxophonists > United States > Biography USA Biografie
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	457 S. Ill., Notenbeisp.
ISBN:	9788774835929 8774835920

Internformat

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Datensatz im Suchindex

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adam_text	INDHOLD FORORD ........................................................ 9 INDLEDNING At veere jazzmusiker .......................................... 13 At komme fra en tone til den neeste............................. 23 Rytmikkens f0rsterang hos Parker.............................. 26 En vej ind і Parkers musikalske univers ......................... 29 Studieindspilningerne ......................................... 32 Radio- koncert- og amatoroptagelserne .......................... 34 Indspilningerne med strygere .................................. 40 1 - CHARLES PARKER JUNIOR Et kaleidoskopisk billede ......................................43 Levnedskfbet .................................................48 Musikeren Charlie Parker .....................................69 Parkers jazzmusikerteknik ..................................... 74 Professionel ensemblemusiker ................................. 76 2 - AT LYTTE TIL PARKER Hvad er på spil i Parkers musik? ................................ 79 Enkelhed og kompleksitet .....................................80 I skole hos J. S. Bach ..........................................82 Et grundlegende Parker-eksempel: КС Blues ...................87 Harmoniske faktorer .......................................... 97 Et mesterligt ikke-mestervserk .................................99 Den transcenderende rytmik .................................. 103 3 - PARKER OG KANSAS CITY-STILEN Et musikalsk drivhus ........................................ 108 Omdefinering af swingrytmen ................................. 111 „Jumping At The Woodside .................................. 113 Parkers forhold til Kansas City-stilen ........................... 116 McShann-orkestret .......................................... 118 4 - BOP-GENNEMBRUDDET What is this thing called „Bop ? ............................... 125 Fra underholdningsmusik til selvbevidst kunstmusik ............126 Boppens konsolidering som stil ................................150 En arketypisk bop-solo ....................................... 155 Et swingraodstykke ..........................................156 Jazzpianoets metamorfose .................................... 159 Parkers pianister ............................................ 141 Bop-bassisterne ............................................. 142 Bop-trommespillet ........................................... 145 Bopmiljoets heroinproblem ...................................148 Den „moderne jazz og kulturlivet ............................. 150 5 - TONER OG TONEKLANG Den personlige tone ..........................................154 Nogle signalementer af Parkers tone ........................... 156 Tone, toner og rytmik ........................................158 Tonedannelsen på en saxofon ................................. 160 De forskellige facetter af Parkers tone ..........................165 Topmode mellem altsaxer .................................... 166 Johnny Hodges ............................................ 169 Benny Carter ................................................ 170 Ben Webster ................................................. 172 Parker og tenorsaxofonen ..................................... 176 Improvisation і alle parametre ................................ 177 6 - JAZZIMPROVISATIONENS DYBERE LOGIK Improvisation og kunnen .....................................180 „The famous alto-break ...................................... 185 Spontanitet versus refleksion ..................................188 Instrumenternes karakteristika ................................ 193 Den auditive horisont........................................ 196 Improvisatorisk refleksion og improvisatorisk mystik ............ 197 Parkers melodiparafraser .....................................200 Typer af medbragt bagage ....................................204 Citater......................................................206 Licks: „How High The Moon /„Ornithology -linien ..............211 Monstre ................................................----215 Figurer .....................................................217 7 - SWINGRYTMIKKEN It don t mean a thing ifit ain t got that swing ....................221 „Can t We Be Friends ........................................224 Metrik og swing .............................................228 En syntetiseret swingmodel ...................................231 Syntetisering qfen swingmodel ............................... 234 Ekstensivt og intensivt swing .................................237 Eksplicit og implicit swing ....................................239 Supplerende swinggeneratorer ................................243 Parkers videre udforskning af swingrytmikken ..................244 8 - PARKERS RYTMISKE KOMPLERSITET OG SUBTILITET „No steady chug chug .......................................251 Subtil kompleksitet ..........................................252 Kompleks subtilitet ..........................................254 Earl Hines kompleksitet ......................................257 Art Tatums subtilitet .........................................259 „Relaxin AtCamarillo .......................................264 Latinamerikansk polyrytmik ..................................265 Parker og latinrytmikken .....................................272 Parkers unikke rytmik .......................................275 9 - PARKERS TONALE UNIVERS Harmonikken і „Cherokee ...................................278 Chilihus-oplevelsens videre tonale betydning ...................281 Gillespies tonale gennembrud via alterationsprincippet ..........283 Rigere harmonik forud for boppen .............................286 Kromatisk harmonik .........................................289 Bop-harmonikkens grundlag ..................................292 Gennemgangsakkorder .......................................298 Akkordsubstitution..........................................301 Alternative harmoniske strategier.............................. 305 Forholdet mellem solist og akkompagnat0r .....................311 The Blues ...................................................313 Parkers blues ...............................................315 Parkers kamp mod kommercialisering af bluesudtrykket .........319 Tonal transcendens, percussiv-skulpturel artikulation ............323 og mikrotonalitet ............................................323 10 - FORHOLDET TIL TRADITIONEN Jazzstudenten ...............................................328 Louis Armstrong (1899-1971) - Westend Blues...................328 Coleman Hawkins (1904-1969) - Body And Soul ............... 331 Lester Young (1910-1959) - Lady Be Good ...................... 337 11 - PARKERS OMFATTENDE SYNTESE Multidimensional rigdom .....................................348 Parker versus Bechet .........................................349 Parker versus Rollins .........................................363 Parkers syntese af virkemidler ................................354 Moüvarbejde................................................360 Mangedimensionaliteten і Parkers linieformning ................365 En meget detaljeret betragtning: Klaunstance .................. 366 Principperne і Parkers liniedannelse ........................... 374 Forskellige solotyper .........................................382 Musik berört af menneskehånd ................................384 Försoningen af folelse og intellekt .............................386 12 - EN FRUSTRERET SAXOFONSOLIST Komponistdrammen .........................................388 Parker og partiturmusikken ...................................391 Schönbergs „Pierrot Lunaire .................................394 Parker og kontrapunktikken ..................................396 Udvidet musikalsk materiale ..................................399 Parkers tragedie .............................................400 Raceproblemet ..............................................402 Parkers virkningshistorie .....................................403 CODA ......................................................407 NOTER .....................................................409 LITTERATUR ...............................................413 VHS/DVD OG RADIOINTERVIEWS...........................416 INDEKS OVER BEHANDLEDE PARKER-INDSPILNINGER ......418 INDEKS OVER ANDRE INDSPILNINGER, DER BEHANDLES ... 425 SAG- OGNAVNEINDEKS .....................................430
adam_txt	INDHOLD FORORD . 9 INDLEDNING At veere jazzmusiker . 13 At komme fra en tone til den neeste. 23 Rytmikkens f0rsterang hos Parker. 26 En vej ind і Parkers musikalske univers . 29 Studieindspilningerne . 32 Radio- koncert- og amatoroptagelserne . 34 Indspilningerne med strygere . 40 1 - CHARLES PARKER JUNIOR Et kaleidoskopisk billede .43 Levnedskfbet .48 Musikeren Charlie Parker .69 Parkers jazzmusikerteknik . 74 Professionel ensemblemusiker . 76 2 - AT LYTTE TIL PARKER Hvad er på spil i Parkers musik? . 79 Enkelhed og kompleksitet .80 I skole hos J. S. Bach .82 Et grundlegende Parker-eksempel: КС Blues .87 Harmoniske faktorer . 97 Et mesterligt ikke-mestervserk .99 Den transcenderende rytmik . 103 3 - PARKER OG KANSAS CITY-STILEN Et musikalsk drivhus . 108 Omdefinering af swingrytmen . 111 „Jumping At The Woodside". 113 Parkers forhold til Kansas City-stilen . 116 McShann-orkestret . 118 4 - BOP-GENNEMBRUDDET What is this thing called „Bop"? . 125 Fra underholdningsmusik til selvbevidst kunstmusik .126 Boppens konsolidering som stil .150 En arketypisk bop-solo . 155 Et swingraodstykke .156 Jazzpianoets metamorfose . 159 Parkers pianister . 141 Bop-bassisterne . 142 Bop-trommespillet . 145 Bopmiljoets heroinproblem .148 Den „moderne" jazz og kulturlivet . 150 5 - TONER OG TONEKLANG Den personlige tone .154 Nogle signalementer af Parkers tone . 156 Tone, toner og rytmik .158 Tonedannelsen på en saxofon . 160 De forskellige facetter af Parkers tone .165 Topmode mellem altsaxer . 166 Johnny Hodges . 169 Benny Carter . 170 Ben Webster . 172 Parker og tenorsaxofonen . 176 Improvisation і alle parametre . 177 6 - JAZZIMPROVISATIONENS DYBERE LOGIK Improvisation og kunnen .180 „The famous alto-break". 185 Spontanitet versus refleksion .188 Instrumenternes karakteristika . 193 Den auditive horisont. 196 Improvisatorisk refleksion og improvisatorisk mystik . 197 Parkers melodiparafraser .200 Typer af medbragt bagage .204 Citater.206 Licks: „How High The Moon"/„Ornithology"-linien .211 Monstre .----215 Figurer .217 7 - SWINGRYTMIKKEN It don't mean a thing ifit ain't got that swing .221 „Can't We Be Friends" .224 Metrik og swing .228 En syntetiseret swingmodel .231 Syntetisering qfen swingmodel . 234 Ekstensivt og intensivt swing .237 Eksplicit og implicit swing .239 Supplerende swinggeneratorer .243 Parkers videre udforskning af swingrytmikken .244 8 - PARKERS RYTMISKE KOMPLERSITET OG SUBTILITET „No steady chug chug" .251 Subtil kompleksitet .252 Kompleks subtilitet .254 Earl Hines' kompleksitet .257 Art Tatums subtilitet .259 „Relaxin' AtCamarillo" .264 Latinamerikansk polyrytmik .265 Parker og latinrytmikken .272 Parkers unikke rytmik .275 9 - PARKERS TONALE UNIVERS Harmonikken і „Cherokee" .278 Chilihus-oplevelsens videre tonale betydning .281 Gillespies tonale gennembrud via alterationsprincippet .283 Rigere harmonik forud for boppen .286 Kromatisk harmonik .289 Bop-harmonikkens grundlag .292 Gennemgangsakkorder .298 Akkordsubstitution.301 Alternative harmoniske strategier. 305 Forholdet mellem solist og akkompagnat0r .311 The Blues .313 Parkers blues .315 Parkers kamp mod kommercialisering af bluesudtrykket .319 Tonal transcendens, percussiv-skulpturel artikulation .323 og mikrotonalitet .323 10 - FORHOLDET TIL TRADITIONEN Jazzstudenten .328 Louis Armstrong (1899-1971) - Westend Blues.328 Coleman Hawkins (1904-1969) - Body And Soul . 331 Lester Young (1910-1959) - Lady Be Good . 337 11 - PARKERS OMFATTENDE SYNTESE Multidimensional rigdom .348 Parker versus Bechet .349 Parker versus Rollins .363 Parkers syntese af virkemidler .354 Moüvarbejde.360 Mangedimensionaliteten і Parkers linieformning .365 En meget detaljeret betragtning: Klaunstance . 366 Principperne і Parkers liniedannelse . 374 Forskellige solotyper .382 Musik berört af menneskehånd .384 Försoningen af folelse og intellekt .386 12 - EN FRUSTRERET SAXOFONSOLIST Komponistdrammen .388 Parker og partiturmusikken .391 Schönbergs „Pierrot Lunaire" .394 Parker og kontrapunktikken .396 Udvidet musikalsk materiale .399 Parkers tragedie .400 Raceproblemet .402 Parkers virkningshistorie .403 CODA .407 NOTER .409 LITTERATUR .413 VHS/DVD OG RADIOINTERVIEWS.416 INDEKS OVER BEHANDLEDE PARKER-INDSPILNINGER .418 INDEKS OVER ANDRE INDSPILNINGER, DER BEHANDLES . 425 SAG- OGNAVNEINDEKS .430
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title	Charlie Parker, the bird
title_auth	Charlie Parker, the bird
title_exact_search	Charlie Parker, the bird
title_exact_search_txtP	Charlie Parker, the bird
title_full	Charlie Parker, the bird Jens Kjeldsen
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title_full_unstemmed	Charlie Parker, the bird Jens Kjeldsen
title_short	Charlie Parker, the bird
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topic	Parker, Charlie <1920-1955> Parker, Charlie 1920-1955 (DE-588)118739328 gnd African American jazz musicians Biography Saxophonists United States Biography
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