Date Approved
5-27-2025
Embargo Period
5-27-2027
Document Type
Dissertation
Degree Name
Ph.D. Creativity
Department
Higher Education
College
Ric Edelman College of Communication & Creative Arts
Advisor
Jonathan Fineberg, Ph.D.
Committee Member 1
James McNeely
Committee Member 2
Quinn Bauriedel
Committee Member 3
Anthony Davis
Abstract
This dissertation will explore an unknown territory of integrating live-looping, sampling and turntablism with live jazz ensembles. By examining the rich history of each art-form, it will expose how their origins are relevant to this concept. Due to intertwining jazz with three technology-based mediums, the timeline of jazz audio recording will also be explored. To rehearse this method, one electronic musician was included with three jazz ensembles of differing orchestrations. He used a music software program called Ableton Live and an external MIDI drum pad controller to sync with the band. This gave him access to their audio, so he was able to record them live. Once recorded, he manipulated their sampled audio with loops and audio effects for improvisation. He also functioned as accompaniment for the band during certain sections of pieces. The electronic musician was given a scored part, just as any other acoustic performer in the band would receive. A notation system was created for this practice by combining Western music notation with graphic symbols. This dissertation will reflect on the creative and technological experiences of rehearsing this new approach of combining jazz with electronics. It concludes with a discussion between the author and the electronic musician, which gives personal insight to its approach, conflicts, resolutions, and potential.
Recommended Citation
Jones, Jamal Roosevelt, "THE ELECTRONIC MUSICIAN PROJECT: THE INTERACTION OF LIVE-LOOPING, SAMPLING AND TURNTABLISM IN THE LIVE JAZZ ENSEMBLE SETTING" (2025). Theses and Dissertations. 3358.
https://rdw.rowan.edu/etd/3358
