Dissertation/Thesis Abstract

Toward a perceptual-cognitive account of double-time feel in jazz
by Voglewede, Matthew J., M.A., University of Oregon, 2013, 82; 1542974
Abstract (Summary)

The New Grove Dictionary of Jazz defines "double time" as "the apparent doubling of the tempo […] achieved by halving the prevailing note value." A more precise term for this concept is "double-time feel." The question of how a musical performance creates double-time feel has received little scholarly attention. Grove's explanation is incomplete because "halving the prevailing note value" is sometimes perceived by listeners as diminution within an unchanged tempo. My hypothesis is that swing rhythm, pervasive in many styles of jazz, not only facilitates the use of double-time feel but allows for subtle gradations in its use. I offer a model that classifies rhythms according to how strongly they support (or undermine) a double-time feel in a swing rhythm context, and I apply the model to performances by Louis Armstrong and Lee Morgan. My analysis demonstrates these artists' fine-grained control over double-time feel and suggests directions for future research.

Indexing (document details)
Advisor: Rodgers, Stephen
Commitee: Boss, Jack, Diaz, Frank M.
School: University of Oregon
Department: School of Music and Dance
School Location: United States -- Oregon
Source: MAI 52/01M(E), Masters Abstracts International
Source Type: DISSERTATION
Subjects: Music
Keywords: Double time, Double-time feel, Jazz, Metrical dissonance, Swing, Tempo
Publication Number: 1542974
ISBN: 9781303285271
Copyright © 2019 ProQuest LLC. All rights reserved. Terms and Conditions Privacy Policy Cookie Policy
ProQuest