As Long as There’s Music: Spirituality in Charlie Haden’s Performance and Solo on “Irene”*

Q3 Arts and Humanities
Fumi Tomita
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引用次数: 0

Abstract

ABSTRACT The purpose of this article is to show how Charlie Haden’s solo improvisation on “Irene” is a manifestation of his spiritual beliefs. My interpretive analysis demonstrates that he took advantage of the unaccompanied setting to create an improvisation complete with a detailed, solidly conceived structure that was improvised in the moment. This solo has also become a perfect representation of what Haden was striving for musically, a search for his own distinctively American improvisational language, that blends his background in country/hillbilly music and his identity as a bassist in an African American-based art form jazz, and finding a common space in the blues. This article also explores how his spiritual beliefs manifest themselves in every aspect of his musicality including his technique, his equipment, and his sound.
只要有音乐:查理·哈登在《艾琳》中的表演和独唱*
本文旨在展示查理·哈登在《艾琳》中的个人即兴创作是他精神信仰的一种体现。我的解释性分析表明,他利用无人陪伴的环境创作了一个即兴创作,并在当时即兴创作了一种详细、构思扎实的结构。这首独奏也完美地体现了哈登在音乐上的追求,他寻求自己独特的美国即兴语言,融合了他在乡村/乡巴佬音乐中的背景和他在非裔美国人的艺术形式爵士乐中担任贝斯手的身份,并在蓝调中找到了一个共同的空间。本文还探讨了他的精神信仰如何体现在他的音乐性的各个方面,包括他的技巧、设备和声音。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Jazz Perspectives
Jazz Perspectives Arts and Humanities-Music
CiteScore
0.60
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