An analysis of selected 1957 to 1962 Gil Evans works recorded by Miles Davis

The conclusions reveal several significant details of Gil's writings for Miles. Among these are Gil's skillful use of motivic development, his ability to achieve thematic recapitulation without resorting to the common jazz format of head-solo-head (composed material-improvised material-composed material), his subtle but important use of rhythm, his strategic use of dynamic climax, and his innovative and distinctive uses of timbre. An important conclusion suggested by the analyses is that Gil was moving toward the concept of a jazz orchestra with each successive collaboration. The study makes a strong case for Gil Evans as a composer and recomposer by demonstrating that at least half of the 36 Evans-Davis works are either compositions or recompositions, and by illustrating his compositional and recompositional skills in detail.

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"The conclusions reveal several significant details of Gil's writings for Miles. Among these are Gil's skillful use of motivic development, his ability to achieve thematic recapitulation without resorting to the common jazz format of head-solo-head (composed material-improvised material-composed material), his subtle but important use of rhythm, his strategic use of dynamic climax, and his innovative and distinctive uses of timbre. An important conclusion suggested by the analyses is that Gil was moving toward the concept of a jazz orchestra with each successive collaboration. The study makes a strong case for Gil Evans as a composer and recomposer by demonstrating that at least half of the 36 Evans-Davis works are either compositions or recompositions, and by illustrating his compositional and recompositional skills in detail."@en
"The dissertation contains a detailed history of the large-ensemble collaborations of Gil Evans and Miles Davis, transcriptions and analyses of four of their works (Blues for Pablo; New Rhumba; Bess, You Is My Woman Now; and Will o' the Wisp), and brief analyses of the remaining 32 pieces they recorded. There is an extensive discussion of the concepts of composition, recomposition, and arrangement as they apply to the Evans-Davis collaborations. The scope of this discussion encompasses twentieth-century copyright laws that affect the definition of the word composer. I contend that many of the Evans-Davis collaborations fall under the category of compositions and recompositions, although they are credited most frequently as arrangements. I analyze Evans' writings to illustrate his unique usage of sound, harmony, melody, counterpoint, rhythm, and growth in large, middle, and small dimensions using a method adapted from the Style-Analytical Method of LaRue (1970/1992) and the Eclectic Method of Ferrara (1991). The sound portion of each analysis includes computer-generated amplitude graphs that show dynamic shape in large and small dimensions. Also, each work is analyzed descriptively as sound-in-time, and as a reflection of its onto-historical world. A conductor's performance guide is included as part of each analysis."@en

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"Criticism, interpretation, etc"@en
"Dissertations, Academic"@en

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"An analysis of selected 1957 to 1962 Gil Evans works recorded by Miles Davis"@en

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