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Jazz endings, aesthetic discourse, and musical publics

Dueck, Byron (2013). Jazz endings, aesthetic discourse, and musical publics. Black Music Research Journal, 33(1) pp. 91–115.

URL: http://www.jstor.org/stable/10.5406/blacmusiresej....
DOI (Digital Object Identifier) Link: https://doi.org/10.5406/blacmusiresej.33.1.0091
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Abstract

The title above contains a melodic fragment from the closing bars of Billy Strayhorn's "Take the A Train". It is often called the "Ellington ending" after the composer and musician for whom the piece became a signature tune. Despite its close motivic relationship to the rest of the piece, it long ago began circulating on its own as a musical tag, and musicians still employ it in a range of contexts to signal musical closure. There are many such concluding patterns, and in the account that follows I will examine how one group of young instrumentalists mobilizes some of them (including the Ellington ending) while collectively arranging a tune. In part, then, this article explores an instance of musical bricolage, as musicians experiment with an array of formulas and come to an agreement regarding how they will establish musical closure with them.

Item Type: Journal Item
Copyright Holders: 2013 Board of Trustees of the University of Illinois
ISSN: 1946-1615
Academic Unit/School: Faculty of Arts and Social Sciences (FASS) > Arts and Cultures > Music
Faculty of Arts and Social Sciences (FASS) > Arts and Cultures
Faculty of Arts and Social Sciences (FASS)
Related URLs:
Item ID: 31863
Depositing User: Byron Dueck
Date Deposited: 23 Jan 2012 09:07
Last Modified: 02 May 2018 13:37
URI: http://oro.open.ac.uk/id/eprint/31863
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