{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85825"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85825","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"George Russell's Jazz Workshop: The Composer's Style and Original Methods of 1956","abstract":"George Russell's musical language touches on many familiar elements in jazz composition: practices of blues, swing, and improvisation; conventions of big band arranging; the Afro-Latin influence; and popular song form. But his music also makes use of ideas that were rare in jazz at that time, such as suite form, dissonant counterpoint, pantonality, and the modal (scalar) approach to composition and improvisation his own theory had informed. This study concludes that with the music of his 1956 Jazz Workshop period, Russell was able to integrate his pursuits of music theory, composition, and performance into a unified, original, and influential art.","abstract_html":"George Russell's musical language touches on many familiar elements in jazz composition: practices of blues, swing, and improvisation; conventions of big band arranging; the Afro-Latin influence; and popular song form. But his music also makes use of ideas that were rare in jazz at that time, such as suite form, dissonant counterpoint, pantonality, and the modal (scalar) approach to composition and improvisation his own theory had informed. This study concludes that with the music of his 1956 Jazz Workshop period, Russell was able to integrate his pursuits of music theory, composition, and performance into a unified, original, and influential art.","abstract_has_math":false,"creators":["Kenagy, Peter Ellis"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Teofilo Carrillo"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:54:20Z","date_published":"2015-09-25T22:54:20Z","updated_at":"2026-07-22T22:26:26Z","subjects":["American Studies"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3406762"],"render_values":[{"text":"(MiAaPQ)AAI3406762","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85825","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Teofilo Carrillo"]},{"key":"dc:creator","label":"Author","values":["Kenagy, Peter Ellis"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:54:20Z","10000-01-01","2009"]},{"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":["American Studies"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85825","(MiAaPQ)AAI3406762"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["George Russell's musical language touches on many familiar elements in jazz composition: practices of blues, swing, and improvisation; conventions of big band arranging; the Afro-Latin influence; and popular song form. 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But his music also makes use of ideas that were rare in jazz at that time, such as suite form, dissonant counterpoint, pantonality, and the modal (scalar) approach to composition and improvisation his own theory had informed. This study concludes that with the music of his 1956 Jazz Workshop period, Russell was able to integrate his pursuits of music theory, composition, and performance into a unified, original, and influential art.","Made available in DSpace on 2015-09-25T22:54:20Z (GMT). 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