Arranjos e improvisações para contrabaixo sem acompanhamento em Dave Holland Solo at JazzBaltica 2003

• Ano de defesa: 2023
• Autor(a) principal: Pablo Camisão Melo de Souza
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; MUSICA - ESCOLA DE MUSICA; Programa de Pós-Graduação em Música; UFMG
• Palavras-chave em Português: Contrabaixista Dave Holland. Dave Holland Solo at JazzBaltica 2003. Contrabaixo Solista.; Arranjo e improvisação em jazz. Análise de Vídeos de Musica.; Performance musical; Arranjos (Música); Improvisação (Música); Holland, Dave, 1946-; Contrabaixo
• Link de acesso: http://hdl.handle.net/1843/61216

This thesis is a case study on British double bassist Dave Holland’s performance practices as observed in the arrangements and improvisations present in five tracks for double bass without accompaniment contained in the primary source, which is comprised of the video recording of the concert Dave Holland Solo at JazzBaltica 2003. Firstly, Holland’s historical, biographical and social contexts (GRIDLEY, 2009) are reviewed through published interviews, articles in journals, and books. Then, the theoretical references related to musical analysis and music theory (GRELA, 1992; LEVINE, 1995; TUREK, 2007; MED, 1996), improvisation (COKER, 1989; MARTIN, 1996; SANTIAGO, 2006), and rhythm (COHEN, 2007; GAULDIN, 2004; HOENIG; WEIDENMULLER, 2009; PAULI; PAIVA, 2015) are discussed. Finally, Holland’s relevant aspects of arrangement, interpretation, and improvisation on the double bass were selected, analyzed, and presented (BORÉM, 2016) through musical examples constituted by MaPAs (map of audio-visual performance), EdiPAs (edition of audio-visual performance) and thorough transcriptions in EdiPs’ format (performance edition) (BORÉM, 2018 e 2016). Several arrangement and improvisation elements are recognized, discussed and ilustrated as Hollands’ stilistic traits on the double bass: dramatic devices, melodic harmonization on the double bass, fingering patterns, traditional and extended techniques, models of scalar-intervalic improvisation, motivic and thematic improvisation, licks, pathways, CESH, inside-outside approaches, exposition- development-grouping of motives, rhythmic shifts, metric shifts, superimposed metric and change of metrics.