Browsing by Author "Lilley, Andrew"

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    An analysis of the musical style of Miriam Makeba
    (2009) Xaluva, Nomfundo; Lilley, Andrew
    The motivation behind this study is to explore the musical style of the late Miriam Makeba. The intention is that it will add a valuable contribution to the study of South African musicians and those subsequent scholars, with a common interest, will use the work to further the analytical study of the musical style of South African jazz.
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    The jazz piano style : a comparative study of bebop, post-bebop and modern players
    (2006) Lilley, Andrew; May, James
    The study embraces a need to document the jazz piano style through analytical representation of key players in the jazz tradition. While there are several educational books outlining method, there is little material discussing jazz style in the context of influential piano players. Educator and author, David Baker, has undertaken to introduce several books from this perspective for some of the more influential horn players (Baker 1982). A search for the jazz style of Bud Powell, Thelonius Monk or Horace Silver, however, will reveal little material and where available this constitutes mostly short biographical information often occupying less than a paragraph within a chapter of historical context. Thomas Owens, for example, discusses the bebop style in 'Bebop, The Music and the Players' (Owens, 1995). He mentions most of the key players for each instrument and discusses their respective stylistic traits. The work is very informative from an overall perspective but serves only to introduce a broad understanding of the players listed. There is very little in-depth analytical discussion or comparative study on style. The subject base is too large for this kind of detail.
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    Johnny Fourie: Once upon a time, an artistic life
    (2021) Scholfield, James; Lilley, Andrew
    Johnny Fourie is one of the greatest guitar players of our époque (McLaughlin quoted in Crossley, 2007:iii). This study looks at Fourie's later approach to the interpretation of three selected representative works from his recording Once Upon A Time. Although there is biographical detail available, there is very little in-depth analytical discussion or comparative study of his style and interpretation of repertoire. The purpose of this study is not a historical or bibliographic documentation but an analytical exploration of selected works from Fourie's final recording. Transcriptions and analysis occupy the majority of the study. The research focuses on the musical content of a specific period in Fourie's musical life. Biographical material is intended to reinforce Fourie's musical influences within the context of the material being analysed. The interpretation of his work in this context is the author's own workflow in understanding the material. A large part of developing an ability to improvise convincingly in the jazz artform is to emulate the defining individuals who have shaped it. The aural tradition is often the main conduit of learning and study. This process is an accepted method of artistic development and was especially valid in the South African musical context during the period under examination. There are very few studies on Fourie's improvisational approach or interpretation of the jazz repertoire especially in relation to his later work. Jonathan Crossley's biographical and analytical work Johnny Fourie and his influence on the development of the jazz guitar in South Africa is a comprehensive and well-documented look at Fourie's life through interviews with the subject as well as through colleagues and family. The work is divided into two parts, the first consisting of biographical material and the second a look at some of Fourie's general approaches to harmony and improvisation. This consists of a comprehensive analysis of one of Fourie's early chord melody interpretations of the jazz standard ‘My Foolish Heart'. The author's work is an extension of the analytical part of Crossley's work, exploring Fourie's later musical output with an emphasis on his harmonic and melodic developments, looking through the author's own prism as an active jazz guitarist and composer. By the time Once Upon A Time was released, Fourie's approach to harmony had evolved considerably and the album is a testament to this maturation. Working in relative isolation in his later years, it was only through a small network of close family, friends and musicians that his work was made available to the outside world. The main focus of this research will be to document and analyse Fourie's later musical output for the purposes of identifying stylistic traits inherent in his approach to improvisation and harmonic content as well as pinpointing his possible influences and inspirations through the transcription of melodic and harmonic content. The transcription process is also a crucial method of gathering musical information that can help inform and influence a musician's own approach to improvisation. The study is divided into three parts. Part I consists of an introduction, a glossary of useful terms and a short biography of the artist. Part II comprises analysis and the deconstruction of transcribed materials. Observations and musical influences are noted. Part III consists of a collection of melodic lines and chord voicings drawn from the transcriptions to create a lexicon of the artist's musical vocabulary. The author acknowledges that the study is limited to the selected works. The primary intention is to generate a conceptual understanding of Fourie's approach and improvisational vocabulary.