請用此 Handle URI 來引用此文件:
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/42057
完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 楊建章(Chien-chang Yang) | |
dc.contributor.author | Kun-Ter Chang | en |
dc.contributor.author | 張坤德 | zh_TW |
dc.date.accessioned | 2021-06-15T00:44:21Z | - |
dc.date.available | 2008-09-02 | |
dc.date.copyright | 2008-09-02 | |
dc.date.issued | 2008 | |
dc.date.submitted | 2008-08-28 | |
dc.identifier.citation | Berliner, Paul F. Thinking in Jazz. Chicago: The University of Chicago Press, 1994.
Coker, Jerry. Improvising Jazz. New York: Simon & Schuster Press, 1964. Cole, Bill. John Coltrane. New York: Macmillan Publishing Company, 1976. Davis, Miles, and Troupe, Quincy. Miles: The Autobiography. New York: Touchstone, 1989. Enstice, Wayne, and Rubin, Paul. Jazz Spoken Here. Baton Rough: Louisiana State University Press, 1992. Epstein, David. Beyond Orpheus:Studies in Musical Structure. Massachusetts: The MIT Press, 1979. Forte, Allen. The American Popular Ballad of the Golden Era 1924-1950. New Jersey: Princeton University Press, 1995. Fraser, Al, and Gillespie, Dizzy. To Be or Not to Bop. New York: Da Capo Press, 1979. Giddins, Gary. Vision of Jazz: the First Century. New York: Oxford University Press, 1998. Giddins, Gary. Weather Bird: Jazz at the Dawn of its Second Century. New York: Oxford University Press, 2004. Gioia, Ted. West Coast Jazz: Modern Jazz in California 1945-1960. New York: Oxford University Press, 1992. Gridley, Mark C. Jazz Styles. New Jersey: Prentice-Hall, Inc., 1978. Haerle, Dan. Scales for Jazz Improvisation. Florida: Belwin, Inc., 1975. Jost, Ekkehard. Free Jazz. Vienna: Da Capo Press, 1975. Kahn, Ashley. Kind of Blue: the Making of the Miles Davis Masterpeice. New York: Penguin Group Inc., 2002. Kahn, Ashley. A Love Supreme: the Story of John Coltrane’s Signature Album. New York: Penguin Group Inc., 2002. Kopp, David. Chromatic Transformations in Nineteenth-Century Music. Cambridge: Cambridge University Press, 2002. Kostka, Stefan, and Pane, Dorothy. Tonal Harmony. Columbus: The McGraw-Hill Companies Inc., 1984. Larkin, Philip. All What Jazz: a Record Diary 1961-1971. London: Faber and Faber Limited, 1970. Levey, Joseph. The Jazz Experience. New Jersey: Prentice-Hall Inc., 1983. Litweiler, John. The Freedom Principle: Jazz after 1958. New York: Da Capo Press, 1984. Lopes, Paul. The Rise of a Jazz Art World. Cambridge: Cambridge University Press, 2002. Martin, Henry. Charlie Parker and Thematic Improvisation. Maryland: Scarecrow Press Inc., 1996. Meadows, Eddie S. Bebop to Cool: Context, Ideology, and Musical Identity. CT: Praeger Publishers, 2003. Monson, Ingrid. Saying Something. Chicago: The University of Chicago Press, 1996. Nettles, Barrie. Harmony 1-3. ( Berklee College of Music Harmony Course Material, 1998). Nisenson, Eric. Ascension John Coltrane and His Quest. New York: Da Capo Press, 1995. Owens, Thomas. Bebop. New York: Oxford University Press, 1995. Porter, Lewis. John Coltrane: His Life and Music. Michigan: The University of Michigan Press, 1998. Ricker, Ramon, and Weiskopf, Walt. Coltrane: A Player’s Guide to His Harmony. IN: Jamey Aebersold Jazz Inc., 1991. Rochinski, Steve. Harmony 4. ( Berklee College of Music Harmony Course Material, 1998). Rosenthal, David H. Hard Bop. New York: Oxford University Press, 1992. Russell, George. Lydian Chromatic Concept of Tonal Organization. MA: Concept Publishing Company, 2001. Slonimsky, Nicolas. Thesaurus of Scales and Melodic Patterns. New York: Schirmer Books, 1947. Schnabel, Tom. Stolen Moments: Conversations with Contemporary Musicians. CA: Acrobat Books, 1988. Schuller, Gunther. Early Jazz. New York: Oxford University Press, 1968. Schuller, Gunther. The Swing Era. New York: Oxford University Press, 1989. Stowe, David W. Swing Changes. MA: Harvard University Press, 1994. Such, David G.. Avant-garde Jazz Musicians Performing ‘Out There’. Iowa: University of Iowa Press, 1993. Thomas, J. C. Chasin’ the Trane. New York: Doubleday & Company Inc., 1975. Wason, Robert W. Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg. New York: University of Rochester Press, 1985. Wilmer, Valerie. As Serious as Your Life. London: Allison & Busby Limited, 1977. Wilson, John S. Jazz: the Transition Years. New York: Division of Meredith Publishing Co., 1966. Wilson, Peter Niklas. Ornette Coleman: His Life and Music. CA: Berkley Hills Books, 1999. | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/42057 | - |
dc.description.abstract | 約翰柯川「多調性系統」中獨特的和聲/調性結構,多年來始終是樂界討論與注目的焦點。然而目前的研究多傾向於將「多調性系統」與柯川早期作品(1956年至1959年)作切割討論,彷彿兩者之間並無關聯。本論文將重新檢視柯川早期作品與「多調性系統」鉅作“Giant Steps”之關係,從分析轉調的模式、比較調性鋪陳的架構,可以發現柯川事實上藉由其早期作品,進行了一系列的和聲實驗,而“Giant Steps”正是這些實驗大功告成的結果。
本論文將分為三部分來探討柯川此一時期的和聲實驗:遠系調下行轉調的鋪陳模式、半音上行turnaround以及“Lady Bird”的多方面影響。遠系調下行的鋪陳模式,源自於查理帕克的大調藍調(Major Blues),柯川藉由此一模式來探究不同音程轉調的可能性:大二度、小二度與大三度,具有此類結構的樂曲包括“Just for the Love”、“Straight Street”、“Grand Central”、“Spiral”及“Giant Steps”。半音上行turnaround為柯川原創的概念,由原本在“Just for the Love”與“Straight Street”等樂曲中不具結構性意義的橋段,演變為構築“Moment’s Notice”全曲和聲結構的“和聲動機”。“Lady Bird”的多方面影響則對於此一Tadd Dameron名曲在和聲與旋律上對柯川創作的影響,提供了另類的觀察。 | zh_TW |
dc.description.abstract | For decades the unique harmonic/tonal structures in John Coltrane’s 「Tonic System」 has always been the focus of discussion. But till now most of these researches separate 「Tonic System」 works from Coltrane’s early compositions (1956 to 1959), as though they were not related. The purpose of this thesis is to re-exam the connections between Coltrane’s early works and his 「Tonic System」 master piece “Giant Steps”. Through analyzing the modulating models, comparing the tonal mappings, one can find with his early compositions, Coltrane was conducting series of harmonic experiments, and “Giant Steps” is the final result of these experiments.
The main body of this thesis is divided in three parts: descending from foreign key model, chromatic ascending turnaround and the “Lady Bird” influence. The descending from foreign key model is derived from Charlie Parker’s Major Blues harmony. Which allows Coltrane to explore the possibilities of modulation in different intervals: major 2nd, minor 2nd and major 3rd. Pieces in discussion include “Just for the Love”, “Straight Street”, “Grand Central”, “Spiral” and “Giant Steps”. Chromatic ascending turnaround is entirely Coltrane’s original idea. It started as an insignificant harmonic role in works like “Just for the Love” and “Straight Street”, but turned out to be the harmonic building block of “Moment’s Notice”. The “Lady Bird” influence provides an alternative perspective of how Tadd Dameron’s famous work “Lady Bird” inspired Coltrane’s compositional mechanism not only harmonically, but also melodically as well. | en |
dc.description.provenance | Made available in DSpace on 2021-06-15T00:44:21Z (GMT). No. of bitstreams: 1 ntu-97-R91144002-1.pdf: 1268124 bytes, checksum: 8d735eaf287407404eded1a97133fc22 (MD5) Previous issue date: 2008 | en |
dc.description.tableofcontents | 目錄
口試委員會審定書 謝誌 i 中文摘要 ii 英文摘要 iii 第一章 緒論 1.1 前言 1 1.2 研究內容 3 1.3 文獻回顧 4 1.4 約翰柯川的音樂創作 7 1.5 研究方法 9 1.6 “Giant Steps”特殊的和聲調性結構 11 1.7 章節安排 13 第二章 從遠系調下行轉調的鋪陳模式 2.1 “Just for the Love”與查理帕克的大調藍調(Major Blues) 14 2.2 全音下行的鋪陳模式:“Straight Street”與“Grand Central” 17 2.3 半音下行的鋪陳模式:“Spiral” 23 2.4 大三度下行模式:“Giant Steps”與下行模式討論 25 2.5 下行音程討論與反向配置的和弦重配手法 29 第三章 半音上行turnaround與“Moment’s Notice” 3.1 “Just for the Love”與半音上行turnaround 31 3.2 構築“Moment’s Notice”的和聲動機 34 第四章 “Lady Bird”的多方面影響 4.1 從“Lady Bird”到“Lazy Bird” 41 4.2 延展單一和弦的和聲鋪陳手法 44 4.3 旋律、樂句的演進:“Lady Bird”、“Pristine”及“Moment’s Notice” 46 4.4 樂句及和聲韻律的相似性:“Moment’s Notice”與“Giant Steps” 48 4.5 Inverted Fourths的旋律動機結構 50 第五章 結論 52 參考書目 54 附錄:1956年至1959年柯川個人創作之錄音出版資料 57 | |
dc.language.iso | zh-TW | |
dc.title | 從“Just for the Love”到“Giant Steps”-約翰柯川早期作品中獨特的和聲/調性結構 | zh_TW |
dc.title | From “Just for the Love” to “Giant Steps”-The Unique Harmonic/Tonal Structures in John Coltrane's Early Compositions | en |
dc.type | Thesis | |
dc.date.schoolyear | 96-2 | |
dc.description.degree | 碩士 | |
dc.contributor.coadvisor | 陳人彥(Jen-yen Chen) | |
dc.contributor.oralexamcommittee | 王櫻芬(Ying-fen Wang),趙菁文(Ching-wen Chao) | |
dc.subject.keyword | 多調性系統,大調藍調,半音上行turnaround,和弦重配,(臨時)調性中心,和聲韻律,Inverted Fourths, | zh_TW |
dc.subject.keyword | Tonic System,Major Blues,chromatic ascending turnaround,re-harmonization,(temporal) tonic center,harmonic rhythm,Inverted Fourths, | en |
dc.relation.page | 60 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2008-08-28 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 音樂學研究所 | zh_TW |
顯示於系所單位: | 音樂學研究所 |
文件中的檔案:
檔案 | 大小 | 格式 | |
---|---|---|---|
ntu-97-1.pdf 目前未授權公開取用 | 1.24 MB | Adobe PDF |
系統中的文件,除了特別指名其著作權條款之外,均受到著作權保護,並且保留所有的權利。