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Tony Williams' drumset ideology to 1969 : Synergistic emergence from an adaptive modeling of feel, technique and creativity as an archetype for cultivating originality in jazz drumset performance studies Anteprima di questo documento
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Tony Williams' drumset ideology to 1969 : Synergistic emergence from an adaptive modeling of feel, technique and creativity as an archetype for cultivating originality in jazz drumset performance studies

Autore: Dave Goodman; Sydney Conservatorium of Music.
Editore: 2011.
Tesi: Thesis (Ph. D.) -- University of Sydney, 2011.
Edizione/Formato:   Tesi/dissertazione : Document : Thesis/dissertation : eBook   Computer File : EnglishVedi tutte le edizioni e i formati
Banca dati:WorldCat
Sommario:
"I identify Tony Williams' formative drumset ideology as being emergent from his adaptive modeling of the feel, technique and creativity identified in the drumming of Art Blakey, Max Roach and Philly Joe Jones respectively and present the results of extensive textual and musicological research on Williams' formative practices between 1945 and 1969 as an archettype for cultivating originality in jazz drumset  Per saperne di più…
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Dettagli

Persona incaricata: Tony Williams
Tipo materiale: Document, Thesis/dissertation, Risorsa internet
Tipo documento: Internet Resource, Computer File
Tutti gli autori / Collaboratori: Dave Goodman; Sydney Conservatorium of Music.
Numero OCLC: 806880741
Note: Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Sydney Conservatorium of Music.
Altri titoli: Synergistic emergence from an adaptive modeling of feel, technique and creativity as an archetype for cultivating originality in jazz drumset performance studies
Responsabilità: Dave Goodman.

Abstract:

"I identify Tony Williams' formative drumset ideology as being emergent from his adaptive modeling of the feel, technique and creativity identified in the drumming of Art Blakey, Max Roach and Philly Joe Jones respectively and present the results of extensive textual and musicological research on Williams' formative practices between 1945 and 1969 as an archettype for cultivating originality in jazz drumset performance studies..."

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