PhD
Thesis: 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.
Dave graduated from the Sydney Conservatorium of Music, University of Sydney with a PhD doctoral degree for his thesis entitled 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. The thesis was written between 2005 and 2010 under the principal supervision of Dr Charles Fairchild, and the associate supervision of Mr Daryl Pratt.
You can download an official digital copy of Dave's complete doctoral thesis (PDF, 505 pages, 30.66 MB) by clicking the "View/Open" link at the bottom of The University of Sydney eScholarhips page:
You can download an official digital copy of Dave's complete doctoral thesis (PDF, 505 pages, 30.66 MB) by clicking the "View/Open" link at the bottom of The University of Sydney eScholarhips page:
Important: To cite or link to Dave's thesis, please use only the following URL, and only cite text from the document obtained directly therefrom: http://hdl.handle.net/2123/7797
Details
Title
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
Author
Goodman, Dave
Keywords
Williams, Tony, 1945-1997
Blakey, Art, 1919-1990
Roach, Max, 1924-2007
Jones, Philly Joe, 1923-1985
Haynes, Roy, 1925-
jazz drumset performance studies
autotelic personality
heutagogy
musical entrainment
complex adaptive systems
improvisation
relative heteronomy in ensemble interaction
collective autonomy in ensemble interaction
modernity in bebop music
postmodernity in post bop music
jazz history, criticism and interpretation
transcription and analysis
discography
omniadroitness
Issue Date
12 Sep 2011
Publisher
Sydney Conservatorium of Music
University of Sydney
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 archetype for cultivating originality in jazz drumset performance studies. I examine patterns of creative thought in the New York jazz community as they developed from the relative heteronomy of modernist bebop improvisation to the postmodernist aesthetic of jazz-rock fusion resulting in the emergence of collective autonomy in musical interaction and improvisation. My research reveals Willams’ possession of autotelic personality and utilisation of learning techniques associated with heutagogy. Also identified is the prevalence of entrainment in the social and musical interactions of the New York jazz community and I interpret these qualities through the lens of the theory of complex adaptive systems as a model for learning in jazz drumset performance studies. I analyse Williams’ ensemble and solo drumming in comparison to that of Blakey, Roach and Jones in addition to Roy Haynes by using an analytic schema designed specifically for identification of contrasting qualities in the voicing of rhythm and expression as revealed in the grouping and ordering of limbs in drumset performance. I present a complete stylistic overview of Williams’ recorded output until 1969 including swing, avant garde, ballad, straight eighth-note and sixteenth-note oriented styles as well as complex temporal events such as polymetric superimposition, rubato, polytempo, superimposed metric modulation, metric modulation and tempo fluctuation.
Description
Doctor of Philosophy (PhD)
URL
http://hdl.handle.net/2123/7797
Rights and Permissions
The author retains copyright of this thesis
Type of Work
PhD Doctorate
Appears in Collections
Sydney Digital Theses (Open Access)
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
Author
Goodman, Dave
Keywords
Williams, Tony, 1945-1997
Blakey, Art, 1919-1990
Roach, Max, 1924-2007
Jones, Philly Joe, 1923-1985
Haynes, Roy, 1925-
jazz drumset performance studies
autotelic personality
heutagogy
musical entrainment
complex adaptive systems
improvisation
relative heteronomy in ensemble interaction
collective autonomy in ensemble interaction
modernity in bebop music
postmodernity in post bop music
jazz history, criticism and interpretation
transcription and analysis
discography
omniadroitness
Issue Date
12 Sep 2011
Publisher
Sydney Conservatorium of Music
University of Sydney
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 archetype for cultivating originality in jazz drumset performance studies. I examine patterns of creative thought in the New York jazz community as they developed from the relative heteronomy of modernist bebop improvisation to the postmodernist aesthetic of jazz-rock fusion resulting in the emergence of collective autonomy in musical interaction and improvisation. My research reveals Willams’ possession of autotelic personality and utilisation of learning techniques associated with heutagogy. Also identified is the prevalence of entrainment in the social and musical interactions of the New York jazz community and I interpret these qualities through the lens of the theory of complex adaptive systems as a model for learning in jazz drumset performance studies. I analyse Williams’ ensemble and solo drumming in comparison to that of Blakey, Roach and Jones in addition to Roy Haynes by using an analytic schema designed specifically for identification of contrasting qualities in the voicing of rhythm and expression as revealed in the grouping and ordering of limbs in drumset performance. I present a complete stylistic overview of Williams’ recorded output until 1969 including swing, avant garde, ballad, straight eighth-note and sixteenth-note oriented styles as well as complex temporal events such as polymetric superimposition, rubato, polytempo, superimposed metric modulation, metric modulation and tempo fluctuation.
Description
Doctor of Philosophy (PhD)
URL
http://hdl.handle.net/2123/7797
Rights and Permissions
The author retains copyright of this thesis
Type of Work
PhD Doctorate
Appears in Collections
Sydney Digital Theses (Open Access)
Known Citations
- Daunt, Ryan. 2018. Neoteric Drum Set Orchestration: An analysis of Nate Wood’s drumming on the music of Tigran Hamasyan. BMus (Hons) thesis: Western Australian Academy of Performing Arts (WAAPA)
- Evans, Sandra Janette (Sandy). 2014. Meetings at the table of time: A creative practice enquiry into carnatic jazz intercultural music. PhD thesis: Macquarie University.
- Galper, Hal. 2014. Recommended | Hal Galper. Website.
- Gander, Andrew John. 2017. Developing A Polyrhythmic Idiolect. PhD thesis: Sydney Conservatorium of Music.
- McBride, Ryan. 2014. A model mentor: The relationship between the pedagogy and performance style of Alan Dawson. (Immediate PDF download). Master of Music dissertation: Williams Paterson University.
- Gluck, Bob. 2016. The Miles Davis Lost Quintet and Other Revolutionary Ensembles. Book: University of Chicago Press.