Date of Award
Bachelor of Music (Jazz) with Honours
Western Australian Academy of Performing Arts (WAAPA)
Faculty of Education and the Arts
Before my California stay (1968-1978) I considered myself a player first and a writer second, although I did a lot of writing, from Ray Charles to Thad [Jones] and Mel [Lewis].1 Since 1979 I have come to view myself as a composer who also plays trombone; add conducting and teaching and that gives me 4 hats to wear. I do not have a swollen head, so they all fit nicely. (Brookmeyer, 1997, n.p.)
Although acknowledged as one of the pivotal figures in twentieth-century jazz, the career and the music of Bob Brookmeyer has received scant attention in secondary literature. This dissertation seeks to rectify this imbalance.
Based on a recorded conversation between Brookmeyer and myself (Appendix A), his efforts as a composer and pedagogue are examined. From this conversation, many of Brookmeyer’s musical concepts on composition are illuminated: his ideas on risk taking; harmony; colour, and ways of developing material, are discussed alongside his pitch-module and white-note concepts. I show that the latter two techniques in fact step outside the jazz tradition and can be seen as new and fresh compositional approaches...
Francis, M. (2006). Bob Brookmeyer: composer, performer, pedagogue. Retrieved from http://ro.ecu.edu.au/theses_hons/1488