A BUGLER OF WORDS: Ellison’s musicality and the Jazz/blues Tradition in Invisible Man
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Invisible Phenomena in the Overall Personality of Man, in the Interpretive Study of the Verses 38 and 39 of Haqqah
There is a visible and invisible element in all creatures. There are also realities in human beings, some of which are visible and most of which are invisible. The preference of the invisible is not limitted only to quantities but includes qualitaties also. This division is inspired by the verses 38 and 39 of Haqqah: Most commentators of the Holy Qur'an believe that the external instances of th...
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The voice is apparently used in quite different manners in different styles of singing. Some of these differences concern the voice source, which varies considerably with loudness, pitch, and mode of phonation. We attempt to describe voice source differences between Classical, Pop, Jazz and Blues styles of singing as produced in a triad melody pattern by a professional female singer in soft, mi...
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This chapter investigates the issue of the role of the computer in musical analysis. Starting with a survey of the main approaches in computer analysis, we focus on the particular problem of Jazz chord sequences harmonic analysis. We propose a theory of chord sequence analysis, based on an explicit conceptual hierarchy of analysis objects. We discuss the implementation of the theory and its res...
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In 1984, Mark STEEDMAN [7] proposed a generative grammar based on six context sensitive rewriting rules able to produce a large variety of blues chord sequences. Later, François PACHET [6] developed a method for analyzing jazz chord sequences. Then, Marc CHEMILLER [4] [5] uses STEEDMAN’s grammar to compose by computers jazz music based upon chord sequences generated by this grammar. About twent...
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