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Teofilo Carrillo Kenagy, Peter Ellis 2015-09-25T22:54:20Z 2015-09-25T22:54:20Z 10000-01-01 2009 2009 George Russell's musical language touches on many familiar elements in jazz composition: practices of blues, swing, and improvisation; conventions of big band arranging; the Afro-Latin influence; and popular song form. But his music also makes use of ideas that were rare in jazz at that time, such as suite form, dissonant counterpoint, pantonality, and the modal (scalar) approach to composition and improvisation his own theory had informed. This study concludes that with the music of his 1956 Jazz Workshop period, Russell was able to integrate his pursuits of music theory, composition, and performance into a unified, original, and influential art. Made available in DSpace on 2015-09-25T22:54:20Z (GMT). No. of bitstreams: 2 license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5) 3406762.pdf: 74390493 bytes, checksum: 059d89b0c083618ea11a54e7a0ce4c75 (MD5) Previous issue date: 2009 Embargo set by: Seth Robbins for item 87106 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs U of I Only 198 p. Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2009. http://hdl.handle.net/2142/85825 (MiAaPQ)AAI3406762 eng American Studies George Russell's Jazz Workshop: The Composer's Style and Original Methods of 1956 text Music Music University of Illinois at Urbana-Champaign Dissertation A.Mus.D.