Most discussions of musical influences that have shaped the styles of jazz composers have centered on the impact that fellow jazz musicians have played in their development. Many jazz figures, however, have also been strongly affected by various aspects of classical music of different periods and styles. This thesis explores the classical elements found in the musical style of Bill Evans, Herbie Hancock, Cecil Taylor, and Dave Brubeck through biographical research and analysis of significant works. Such an examination will help to ground, and in some cases challenge, assumptions that have previously been made about the formation of these jazz pianists' styles. Evans was inspired by elements of Claude Debussy, Maurice Ravel, Olivier Messiaen, and Alexander Scriabin. These influences had an impact on how Evans approached harmony (chord planing, stacked fourths, etc.), ensemble, and melody. Hancock utilizes elements of Debussy and Ravel as well, but he also turned to the contemporary electronics of Karlheinz Stockhausen. The French composers influenced Hancock's improvisational style and orchestration, but Stockhausen's experiments inspired him to explore different electronic styles of music that would affect his music into the 1980s. Instead of Debussy and Ravel, Taylor turned to the music of Igor Stravinsky and Béla Bartók, creating music that features a very percussive playing style and obscure meter. Brubeck's music drew largely from the polytonal characteristics of Darius Milhaud. This interest in mixing key centers led Brubeck to create a unique improvisational style that lent itself to mixed meters as well.

Free Jazz: A Research and Information Guide offers carefully selected and annotated sources on free jazz, with comprehensive coverage of English-language academic books, journal articles, and dissertations, and selective coverage of trade books, popular periodicals, documentary films, scores, Masters’ theses, online texts, and materials in other languages. Free Jazz will be a major reference tool for students, faculty, librarians, artists, scholars, critics, and serious fans navigating this literature.

Enhanced by an audio CD of selected examples and pieces, a course in playing all major styles of piano covers a history of the instrument and offers progressive instruction in all areas of technique, including posture, fingering, pedalling, scales, and exercises.

A History of Music in Western Culture 3/e is based on the premise that the best way to convey the history of Western music is to focus squarely on the music. Organized around a carefully selected repertory of works, this text integrates the requisite names, dates, and concepts around specific compositions. Once familiar with a representative body of music, students can better grasp the evolution of musical style and music's changing uses within the Western tradition. Even more importantly, they will have a sound basis from which to explore other musical works and repertories. This text builds its narrative around the core repertory represented in the Anthology of Scores and the corresponding sets of compact discs.

This songbook presents fourteen classic titles recorded by America's great jazz pianist: Bill Evans. Each piece is carefully arranged for solo piano, suitable for intermediate-advanced players, and many of Bill Evans’ original compositions are included. With an introduction by editor Jack Long, as well as photography sprinkled throughout, there has never been a better time to familiarise yourself with this American legend. Song List: - Autumn Leaves - Epilogue - How My Heart Sings - Minority - My Foolish Heart - Oleo - Peace Piece - Peau Douce - Peri’s Scope - Quiet Now - Time Remembered - Two Lonely People - Waltz For Debby - Who Can I Turn To