{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/49435"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/49435","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Joe Chambers: musical style and concept, 1964 — 1973","abstract":"This dissertation discusses the postbob-drumming contributions of percussionist, composer and educator Joe Chambers. The analysis of his musical style and concept will focus on the period between his 1964 recording debut with Freddie Hubbard and his first album as a bandleader in 1973. This period represents a seminal chapter in Chambers’ lengthy career, during which he developed and refined his distinct musical style and innovative concepts of modern jazz drumming. Some of the most significant components of his characteristic drumming style will be discussed and illustrated by detailed analysis and extensive commentary of selected musical performances. This analysis is integral to the understanding of Joe Chambers’ highly diverse musical aesthetics and sublime percussive soundscapes. Perhaps most significantly, the conclusions drawn from the interpretation of analytical observations are supplemented and supported by Chambers’ personal insights, historic anecdotes and critical evaluations, predominately obtained from a series of interviews with the author. The unique perspectives Chambers revealed in these conversations were vital for the validity of this study, as they shed light on a legendary musician whose musical contributions were seminal to the evolution of postbop drumming and the continuing emancipation of the instrument.","abstract_html":"This dissertation discusses the postbob-drumming contributions of percussionist, composer and educator Joe Chambers. The analysis of his musical style and concept will focus on the period between his 1964 recording debut with Freddie Hubbard and his first album as a bandleader in 1973. This period represents a seminal chapter in Chambers’ lengthy career, during which he developed and refined his distinct musical style and innovative concepts of modern jazz drumming. Some of the most significant components of his characteristic drumming style will be discussed and illustrated by detailed analysis and extensive commentary of selected musical performances. This analysis is integral to the understanding of Joe Chambers’ highly diverse musical aesthetics and sublime percussive soundscapes. Perhaps most significantly, the conclusions drawn from the interpretation of analytical observations are supplemented and supported by Chambers’ personal insights, historic anecdotes and critical evaluations, predominately obtained from a series of interviews with the author. The unique perspectives Chambers revealed in these conversations were vital for the validity of this study, as they shed light on a legendary musician whose musical contributions were seminal to the evolution of postbop drumming and the continuing emancipation of the instrument.","abstract_has_math":false,"creators":["Schnorr, Christian"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Solis, Gabriel","Spencer, Joel","Gray, Lawrence","Coleman, Barrington"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-05-30T16:43:51Z","date_published":"2014-05-30T16:43:51Z","updated_at":"2026-07-22T22:25:38Z","subjects":["jazz","bebop","be-bop","postbop","post-bop","avant-garde","drums","drumming","drum-set","drum set","Joe Chambers","Tony Williams","Elvin Jones","Max Roach","Freddie Hubbard","Wayne Shorter","Bobby Hutcherson","Chick Corea","Joe Henderson","New York","pulse","time","circle","linear"],"languages":["en"],"rights":["Copyright 2014 Christian Schnorr"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2142/49435","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Solis, Gabriel","Spencer, Joel","Gray, Lawrence","Coleman, Barrington"]},{"key":"dc:creator","label":"Author","values":["Schnorr, Christian"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2014-05-30T16:43:51Z","2014-05"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["jazz","bebop","be-bop","postbop","post-bop","avant-garde","drums","drumming","drum-set","drum set","Joe Chambers","Tony Williams","Elvin Jones","Max Roach","Freddie Hubbard","Wayne Shorter","Bobby Hutcherson","Chick Corea","Joe Henderson","New York","pulse","time","circle","linear"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2014 Christian Schnorr"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/49435"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This dissertation discusses the postbob-drumming contributions of percussionist, composer and educator Joe Chambers. The analysis of his musical style and concept will focus on the period between his 1964 recording debut with Freddie Hubbard and his first album as a bandleader in 1973. This period represents a seminal chapter in Chambers’ lengthy career, during which he developed and refined his distinct musical style and innovative concepts of modern jazz drumming. Some of the most significant components of his characteristic drumming style will be discussed and illustrated by detailed analysis and extensive commentary of selected musical performances. This analysis is integral to the understanding of Joe Chambers’ highly diverse musical aesthetics and sublime percussive soundscapes. Perhaps most significantly, the conclusions drawn from the interpretation of analytical observations are supplemented and supported by Chambers’ personal insights, historic anecdotes and critical evaluations, predominately obtained from a series of interviews with the author. The unique perspectives Chambers revealed in these conversations were vital for the validity of this study, as they shed light on a legendary musician whose musical contributions were seminal to the evolution of postbop drumming and the continuing emancipation of the instrument.","Item withdrawn by Mark Zulauf (zulauf@illinois.edu) on 2014-04-17T15:19:58Z Item was in collections: University of Illinois Theses & Dissertations (ID: 1) No. of bitstreams: 1 Schnorr_Christian.pdf: 30958495 bytes, checksum: 106fc374bf129c28ec00113082f73b3d (MD5)","Made available in DSpace on 2014-05-30T16:43:51Z (GMT). No. of bitstreams: 2 Christian_Schnorr.pdf: 30958495 bytes, checksum: 106fc374bf129c28ec00113082f73b3d (MD5) license.txt: 4067 bytes, checksum: e17dedb8ab488422d21472a420381264 (MD5)","Uploaded PDF of dissertation with minor typo correction in first sentence of abstract. Correction and re-upload made by Ayla Stein (astein@illinois.edu) on 2015/03/23T13:05:00-5:00GMT","Removed updated pdf and re-uploaded original pdf by Ayla Stein (astein@illinois.edu) because administrator's (astein@illinois.edu) reading of policy on editing submitted items was incorrect. Changes made 2015-03-23T13:27:00-5:00GMT","The typo was fixed in the abstract metadata by Ayla Stein (astein@illinois.edu) pending author request to Graduate College. 2015-03-23T15:59:00-5:00GMT"]},{"key":"dc:title","label":"Title","values":["Joe Chambers: musical style and concept, 1964 — 1973"]}]}],"canonical_facts":{"dc:contributor":["Solis, Gabriel","Spencer, Joel","Gray, Lawrence","Coleman, Barrington"],"dc:creator":["Schnorr, Christian"],"dc:date":["2014-05-30T16:43:51Z","2014-05"],"dc:description":["This dissertation discusses the postbob-drumming contributions of percussionist, composer and educator Joe Chambers. The analysis of his musical style and concept will focus on the period between his 1964 recording debut with Freddie Hubbard and his first album as a bandleader in 1973. This period represents a seminal chapter in Chambers’ lengthy career, during which he developed and refined his distinct musical style and innovative concepts of modern jazz drumming. Some of the most significant components of his characteristic drumming style will be discussed and illustrated by detailed analysis and extensive commentary of selected musical performances. This analysis is integral to the understanding of Joe Chambers’ highly diverse musical aesthetics and sublime percussive soundscapes. Perhaps most significantly, the conclusions drawn from the interpretation of analytical observations are supplemented and supported by Chambers’ personal insights, historic anecdotes and critical evaluations, predominately obtained from a series of interviews with the author. The unique perspectives Chambers revealed in these conversations were vital for the validity of this study, as they shed light on a legendary musician whose musical contributions were seminal to the evolution of postbop drumming and the continuing emancipation of the instrument.","Item withdrawn by Mark Zulauf (zulauf@illinois.edu) on 2014-04-17T15:19:58Z Item was in collections: University of Illinois Theses & Dissertations (ID: 1) No. of bitstreams: 1 Schnorr_Christian.pdf: 30958495 bytes, checksum: 106fc374bf129c28ec00113082f73b3d (MD5)","Made available in DSpace on 2014-05-30T16:43:51Z (GMT). No. of bitstreams: 2 Christian_Schnorr.pdf: 30958495 bytes, checksum: 106fc374bf129c28ec00113082f73b3d (MD5) license.txt: 4067 bytes, checksum: e17dedb8ab488422d21472a420381264 (MD5)","Uploaded PDF of dissertation with minor typo correction in first sentence of abstract. Correction and re-upload made by Ayla Stein (astein@illinois.edu) on 2015/03/23T13:05:00-5:00GMT","Removed updated pdf and re-uploaded original pdf by Ayla Stein (astein@illinois.edu) because administrator's (astein@illinois.edu) reading of policy on editing submitted items was incorrect. 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