Note:This thesis is part of a research project submitted in partial fulfillment of the degree of Doctor of Musical Arts in the School of Music. The project also involved the preparation and performance of a recital of music related to the thesis topic.

Files in this item



application/pdfMark O'Connor.pdf (17MB)Restricted to U of Illinois
(no description provided)PDF


Title:The Musical Language Of Joe Farrell And Its Evolution Beyond Hard Bop
Author(s):O'Connor, Mark Stephen
Contributor(s):Professor Charles “Chip” McNeill; Richtmeyer, Debra; Lund, Erik; Solis, Gabriel
Department / Program:School of Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
Subject(s):Joe Farrell
hard bop
jazz music
Abstract:The musical language spoken by jazz musicians during the hard bop era (circa 1954-1965) evolved because of the influence of Miles Davis, John Coltrane, and Ornette Coleman. Their albums Kind of Blue, Giant Steps, and The Shape of Jazz to Come, all landmark recordings, inspired a younger generation of jazz musicians to use the concepts on these albums as starting points for the evolution of the jazz language beyond the hard bop dialect. The purpose of this thesis is to document how the musical language of one particular member of this younger generation, Joe Farrell, evolved beyond hard bop. The study of Farrell’s evolution is invaluable to students of jazz and professional jazz musicians fluent in the hard bop style for several reasons. First, fluency with the modern vernacular gives hard bop musicians the ability to employ greater melodic and harmonic variety in their improvisations, making their solos more exciting. Second, the order in which Farrell incorporated the elements of this new vocabulary is very logical and provides a step-by-step “plan of attack” that students of jazz can use to achieve greater fluency. Without a logical approach, the assimilation of this vernacular can sound very jarring and forced. Finally, jazz musicians must be proficient with many different dialects of music to make a living and the ability to “speak” this modern idiom makes them more employable. The hard bop and bebop dialects, taught in most undergraduate university-level jazz programs, provide the student of jazz with a solid harmonic and melodic foundation. These dialects, however, are only intended to be starting points. Fluency in the modern dialect helps the improviser develop a high level of harmonic sophistication and arms him with one of the tools needed to play with any world-class jazz artist.
Issue Date:2014-11
Publisher:University of Illinois
Citation Info:O'Connor, Mark Stephen. THE MUSICAL LANGUAGE OF JOE FARRELL AND ITS EVOLUTION BEYOND HARD BOP. Doctoral project thesis submitted at the University of Illinois at Urbana-Champaign, 2014.
Genre:Dissertation / Thesis
Date Available in IDEALS:2015-04-01

This item appears in the following Collection(s)

Item Statistics