Extended Essay-Final

How Has American Jazz Influenced 20th

Century Classical Compositions of the

1920’s?

Extended Essay

May 2013 Examination Session

Northport High School

Candidate Name: David Barton

Candidate Number: 001404-003

Supervisor: Frank Doyle

Word Count: 4300

Abstract

! In this essay, I proved that American Jazz has influenced 20th Century classical

music of the 1920’s. In order to prove my claim, I used Three Moods (1921) by Copland,

La Création du Monde (1923) by Milhaud, Three Preludes (1926) by Gershwin, and the

Piano Concerto For The Left Hand (1929-1930) by Ravel. I proved the influence of jazz

on 20th century classical music in many steps. First, I explained the methodology of

how I selected the pieces, and clarified the distinction between jazz music and jazz-

influenced composition. Then, I gave important background information on the

composers of the four 20th century classical compositions that I selected and therefore

the compositions themselves in order to reveal the jazz influence. Afterwards, I

analyzed the four pieces harmonically, rhythmically, and melodically. For every example

I gave for the jazz-influenced compositions, I provided an example of how those

particular characteristics were indeed found in jazz at that time or earlier. This way, the

jazz pieces would have been created early enough to have possibly contributed to the

jazz influence on Ravel, Gershwin, Copland, and Milhaud and therefore in their

compositions as well.

Word Count: 193

Table of Contents

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 2

Methodology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pages 2-3

Jazz vs. Jazz-influenced Composition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pages 3-4

Background Information About the Composers and the Compositions. . . . . . . Pages 4-5

Elements of Jazz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pages 6-26

! Harmonic Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pages 6-13

! Rhythmic Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pages 13-20

! Melodic Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pages 20-26

Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 27

Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pages 28-29

Bibliography-Scores. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 29

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Introduction

! The purpose of this paper is to reveal how American Jazz has influenced the

music of 20th century Ravel, Milhaud, Gershwin, and Copland. This will be shown

through rhythmic, harmonic, and melodic analysis of the following pieces: La Création

du Monde by Milhaud, Piano Concerto For The Left Hand by Ravel, Three Preludes by

Gershwin, and Three Moods by Copland. I am going to use a 4 hands piano reduction

for La Création du Monde and a 2 piano reduction for Piano Concerto For The Left

Hand in order to condense the orchestral scores so they will be more useful when

inserting the examples into the text. For the Three Preludes and Three Moods, I will be

using the original scores, which are for one piano. I will begin with the methodology of

research, and then differentiate jazz from jazz influenced 20th century classical music.

Next, I will give some background information on the composers and the pieces. Then, I

will define the elements of jazz, provide examples of excerpts from jazz pieces to show

proof of those elements of jazz, and finally I will analyze the four pieces that I mentioned

above.

Methodology

! My original idea was showing how American Jazz has affected 20th century

classical compositions. After doing much research, I decided that I needed to refine my

topic to narrow the focus. The problem was that jazz itself evolved quickly, so it had

different characteristics at different time periods. I decided to pick jazz-influenced

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modern classical pieces of the 1920’s-which is when the first compositions were created

considering that jazz had started in the 1910’s. First, I researched original jazz pieces

that were composed earlier than the compositions that were influenced by jazz. I then

listened to recordings and found scores and or lead sheets in order to justify my claims.

The composers of the jazz pieces include: Shelton Brooks, Bob Carleton, Zez Confrey,

W.C. Handy, M.K. Jerome, George A. Norton, Spencer Williams, and Waller Thomas

and Clarence Williams. Next, I researched the jazz-influenced compositions, the

composers, and the years that the compositions were created. I made sure that the

compositions weren’t ragtime-influenced (considering that ragtime was the precursor to

jazz and is sometimes confused with jazz) and then selected the pieces. I listened to

them carefully to see if they sounded like they had clear jazz characteristics. If their

rhythm and tonal language suggested jazz characteristics, then I knew that I could use

them. In order to make sure that I was hearing the pieces correctly, I obtained scores or

score-reductions for all of the pieces so that I could analyze them properly. I could then

deduce from the mixed analytical process that the combination of various compositional

elements caused the piece to be considered “jazz-like.”

Jazz vs. Jazz-influenced Composition

! If a composition is influenced by jazz, how can it be differentiated from an actual

piece of jazz music? Jazz is an improvised art form and composition is not. A

composition can have jazz characteristics, but because it is notated, it is not a jazz

piece itself. The composers that I will be discussing took elements of the improvised art

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form (that has been notated for analytical purposes) and through a compositional

process created new art, otherwise known as “jazz-influenced composition.”

Background Information About the Composers and the Compositions

! Aaron Copland was inspired by jazz for many of his earlier compositions. He was

familiar with jazz back in America where he listened to it and played it in bands, but he

didn’t realize its full potential until he was traveling in Austria. He decided that jazz might

be for him “the equivalent of folksong for Mussorgsky or Falla or Villa-Lobos,” (Austin

503-504) meaning that it would come naturally to him. He then composed Three Moods

while he was studying in Paris in 1921. The final movement entitled Jazzy is the only

movement that displays the influence of jazz on Copland, so that will be the only

movement that I use from this piece. Copland himself had said that Jazzy “is based on

two jazz melodies and ought to make the old professors sit up and take notice.” He saw

jazz as an “easy way to be American” (Routh 208).

! George Gershwin was raised on the Lower East Side of Manhattan where

Russian, Yiddish, Eastern-European, African-American, and American cultures mixed

(Ross 143). He was inspired by Stravinsky, Debussy, Tchaikovsky, and Jewish chant

music (“George Gershwin”). He composed Three Preludes for piano in 1926 after his

famous Rhapsody in Blue in 1924. Gershwin was influenced by the jazz that he heard

while he was working on Tin Pan Alley as a “sound plugger.” For him, jazz represented

the “energy stored up in America” (Albright 387). Gershwin first performed this piece

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himself at the Roosevelt Hotel in New York. Each prelude is considered a well-known

example of the jazz influence on 20th century American classical music.

! Darius Milhaud was one of six classical composers who were part of “Les

Six” (Ross 98). Milhaud discovered American jazz when he visited London in 1920.

Here, in a Hammersmith dance hall, he encountered Billy Arnold's Novelty Jazz Band

(Miller 16). Milhaud made his first trip to America in 1922 where he went to a Harlem

joint called the Capitol Palace. He heard many New Orleans Jazz bands here and was

stunned by “the unadulterated power of the blues” (Ross 102). He then went on to

compose La Création du Monde (The Creation of the World) in 1923. It has six parts

and it’s based on African folk mythology. At first it created much controversy due to its

modern techniques such as the harmonic language, and the heavy use of syncopation,

but eventually it became known as an undisputed masterpiece, which influenced other

classical composers to experiment with jazz.

! Maurice Ravel composed Piano Concerto For The Left Hand from 1929-1930. It

was commissioned by an Austrian pianist named Paul Wittgenstein who had lost his

right arm in World War I. Ravel had created a single-movement virtuosic piece, which

“emerges from the sombre depths of the orchestra to grow into a powerful statement of

triumph over adversity” ("Ravel Piano Concertos"). Ravel, who had heard jazz in

Harlem, was particularly impressed by Gershwin’s Rhapsody in Blue when he met him

in 1928. He also had traveled to New Orleans and watched Duke Ellington perform, so

that was another prominent jazz influence on Ravel (Helm, Paul). This influence is

found in the jazz elements that Ravel incorporates in his Piano Concerto For The Left

Hand.

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Elements of Jazz

Harmonic Elements

! A very common chord progression in jazz is the major II-V7-I. This differs from

the minor ii-V7-I progression in that the II-V7-I in that the predominant is a secondary

dominant. This “raised” third in the II chord acts as a new leading tone, which gives a

greater sense of finality to the section or phrase (Liebman). This makes the progression

more “colorful” because the sharpened scale degree four is a non-chord tone in relation

to the key that it’s in. In other words, the sharpened third of the chord isn’t diatonically

related to the key. Instead, it is a chromatic tone, which strengthens the movement

between the II and the V chord by employing half-step motion as opposed to whole step

motion between scale degrees four and five of the key. The ii-V7-I progression is also

known as a turnaround (The Harmonic Language of Early Jazz). It helps to strengthen

the tonality of the key by making the motion to I stronger by using the natural

relationship of descending fifths.

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C: ii7 V7 I

Example #1 from Shelton’s The Darktown Strutters’ Ball.

! Cm! ! ! F7!! ! ! Bb

Bb: ii! ! ! ! V7 ! ! ! I

Example #2 from Gershwin’s Three Preludes.

! Example #1 clearly shows the ii-V7-I progression in the key of C. The chord

names are even provided above the chords, which are Dm7 to G7 to C. This jazz piece

is evidence for the use of this progression even though a couple of sevenths are added

to the chords. Example #2 shows how the piece is jazz-influenced since it also follows

the same chord progression. Each chord is on the 1st beat of each measure. The

chords are Cm to F7 to Bb. This turnaround is used to end a section before going to a

recapitulation of the theme two measures later.

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! ! ! D7! ! G7! ! ! C

C: ! ! ! II7! ! V7! ! ! I

Example #3 from Jerome’s Jazz Baby.

! G#7/D#! ! ! ! C#11! ! ! ! ! F#7

F#: II7! ! ! ! V11! ! ! ! I 7

Example #4 from Milhaud’s La Création du Monde.

! In Example #3, the II7-V7-I progression is seen in the key of C. The chords go

from D7 to G7 to C where the D7 is a V7/V in the key of C. Since this jazz piece utilizes

this particular progression, it serves as proof as to how the piece from Example#4 was

influenced by jazz. In Example #4, the chords start on the 1st beat of each measure and

are G#7/D# to C#11 to F#7 in the key of F# major. This progression is repeated several

times throughout this movement.

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! Another important harmonic characteristic of jazz is its use of extended harmony

and altered chords. Extended harmony are notes that are added to the chord above the

chord tones that utilize the same intervallic distance as the notes of the chord. This is

used in tertian harmony where the extended chord members are the seventh, ninth,

eleventh, and thirteenth of the chord in relation to the root (Norman, 10). Each

successive extended chord tone is a third away from the previous chord tone, and is

hence, an extension of the tertian chord.

! ! ! ! B9

C: V9

Example #5 from Jerome’s Jazz Baby.

! Am b13

C: vi b13


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! In Example #5, there is a tertian chord with extended harmony. It is the B9, which

consists of the B Major triad and the extended dominant harmony of the b7th and 9th.

This jazz piece shows how tertian harmony was being extended at this time. In Example

#6, the chord functions as a pedal tone throughout the next few measures. This is to

emphasize the jazz qualities of this chord, which show the extended harmony. This

chord is an Am7 chord add 9th, 11th, and b13th in the key of C.

! Parallel chordal motion was another important harmonic characteristic in early

jazz. Some of this could be found in Western harmony at the time, but it was used much

more extensively in jazz music (Schuller 40-41). Parallel chordal motion occurs when

the voicing of the chord progression (or part of it) utilizes the same interval in the same

direction. In other words, the different parts of the chord all move in the same direction

over the same interval.

Example #7 from Norton’s The Memphis Blues (which was based on Handy’s World Wide “Blue” Melody).

Example #8 from Ravel’s Piano Concerto For The Left Hand.

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! In Example #7, the parallel chordal motion is apparent in the top two staves of

this early jazz piece. Each part of the chord in the top two staves moves in the same

direction in the same intervals, which are minor seconds. In Example #8, it clearly

shows how the parallel chordal harmony was used much more frequently as what would

be seen in most Western harmony at the time. In this right hand part, each chord moves

in parallel with the others for the entirety of the two measures, which is longer than what

would be used in a classical Western composition at this time.

! Another important characteristic of the harmonic elements of jazz includes the

duration for which the piece is in a specific key, or has a certain tonal center. As early

jazz progressed, key changes and tonal shifts appeared more and more frequently than

they did previously in most Western music. This would change the feeling of the music

because the tonic would change much more quickly than what most people were used

to hearing at the time (Schuller 53). In harmonic terms, the focus was on harmonizing to

the chords, not necessarily the key as much. This created many modulations within the

music. In other words, the shift of the tonal center occurred in terms of the “harmonic

relationship of the melody to the harmony” (Schuller 53).

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Example #9 from Waller and Williams’ Wild Cat Blues.


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C:F:

Dm:

Keys:

F#m:

Bbm:

Abm:

! Example #9 provides a strong example of the many key changes/tonal shifts

found in early jazz. The tonal center is implied through the lead sheet and it shifts from

C to F to the relative minor-D. This example supports how modulations occurred

frequently in early jazz at this time. In Example #10, it is apparent that key/tonal center

changes occur very often. This section goes from F#m to Bbm to Abm in a matter of 7

measures! This shows how the tonal center for the listener would be more ambiguous

since it changes frequently.

Rhythmic Elements

! One of the most important and defining characteristics of jazz music is the use of

syncopation. Syncopation is the temporary shifting of a regular metrical accent (Randel

861). It places the emphasis on a weak or unaccented note to “displace” the regular

meter. Syncopation can take many different forms. It can be seen in the use of hemiola

or in the succession of strong and weak beats within a measure or group of measures.

Hemiola is the use of three equally valued notes in the time normally occupied by two

notes of equal value (Randel 389). In other words, it gives the feel of a different meter

from the one that it is currently in. Syncopation can be created by the note values

themselves, by the accentuation, or by the articulation in the context of a clearly defined

unsyncopated meter (Randel 861).

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Example #11 from Norton’s The Memphis Blues.


! Example #11 provides a good example of syncopation in this jazz piece. It is

found in all of the parts. For example, syncopation is found on the top staff in the first

measure on the second beat where there is a sixteenth note followed by an eighth note.

The syncopation is found on the second quarter of the beat. In Example #12, the

syncopation is found on the second half of beat 2 in the right hand part of the first piano

and the left hand part of the second piano. This is seen in each of the three measures.

Here, the accent is on the second half of the third beat and consequently on the second

half of the fourth beat as well.

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! Another rhythmic element is the bass line found in jazz music. The bass line

used to be two beats per measure in ragtime, but became four beats per measure in

early jazz music (Shipton 81). This created a greater sense of ebb and flow in the music

because it gave the music more motion. The doubling of beats per measure gave the

music more of a “swing” feeling. This type of bass line was also known as a walking

bass. Often, these bass lines would develop into ostinatos, or short repeating musical

patterns that are usually used in the bass (Randel 624). In early jazz piano music, these

repetitive ostinato figures were in the left hand and were called “boogie-

woogie” (Schuller 374).

Example #13 from Carleton’s Ja-Da.


! Example #13 provides an example of the typical type of bass line that was found

in early jazz music at this time. The time signature is common time with a “bass-chord”

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textural pattern on each quarter note. In Example #14, it is clearly shown how the bass

line is four quarter notes per each measure of 4/4. This example has an ostinato in the

left hand, which continues on for many more measures throughout the first section of

the piece. This also shows how the composition was influenced by jazz.

! Another important rhythmic element is the use of polyrhythms, or cross-rhythms,

which is the combination and simultaneous use of two or more distinct rhythms that are

not perceived as deriving from one another or of simple manifestations of the same

meter (Randel 669). This can be seen with duplet and triplet rhythms within the same

meter or it can be seen with bimetricity or polymetricity. This implies that there are two

different meters occurring at the same time if it’s bimetric (Schuller 374) and three or

more meters happening simultaneously if it’s polymetric (Randel 669). All of the distinct

meters will be notated. A common example of bimetricity is with the same amount of

beats being used for both meters but one meter is simple and the other is compound.

An example of this is 6/8 against 2/4 with the dotted quarter note equaling the quarter

note.

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Example #15 from Confrey’s Stumbling.


! Example #15 provides evidence for the use of polyrhythms in early jazz music.

Even though there is only one time signature, the right hand part consists of a hemiola,

making the part feel like it’s in 3/4 time as opposed to 2/2. This creates an effect of

bimetricity because it’s 3/4 going against 2/2, which is functioning more like 4/4, which

in turn creates polyrhythms. In Example #16, the solo part and the left hand part of the

piano are in 6/8 while the right hand part of the piano is in 2/4. This is an example of

bimetricity within this piece. This creates polyrhythms between the eighth notes in the

solo part and the sixteenth notes in the piano part.

! Along with the syncopation, there would also be much emphasis on the weak

beats. For example, in 4/4 time, which was the most widely used time signature in early

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Function

jazz, there would be more emphasis on beats 2 and 4 as opposed to 1 and 3 (Schuller

10).

Example #17 from Brooks’ Some of These Days.

Example #18 from Copland’s Three Moods.

! In Example #17, the emphasis is found on the weak beats in the first and third

measures. Since the time signature is cut time, the weak beats are the upbeats of 1 and

2. The emphasis is shown because the more important chords are found on the upbeats

while simpler intervals or notes are found on the strong beats. Example #18 shows the

emphasis of the weak beats in the left hand. The time signature for this section is in 4/4.

The emphasis is found in the form of the chords on both beats two and four in each

measure, which accentuate those beats, making them stronger rhythmically. This shows

how this piece was influenced by jazz.

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! Another metric characteristic of jazz is the use of “swing.” Swing is a manner of

playing or inflecting rhythms to alter the way they sound from what’s written on the

music (Randel 852). This is usually notated by the following: . Instead of the

two eighth notes having the same duration, the first eighth note is longer than the

second. Swing wasn’t always notated in early 20th century jazz, but it is implied. This

can be seen with triplet quarter note and eighth note figures and dotted eighth and

sixteenth note figures (http://academic.udayton.edu).

Example #19 from Handy’s Beale Street Blues.


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! Example #19 provides support for the use of swing rhythms. In this jazz piece,

the dotted eighth and sixteenth notes function as the swing rhythm. They are found

throughout the piece and illustrate that the notes were swung. In Example #20, the

swing is found in the right hand of the piano part. It is seen in the form of the dotted

eighth notes followed by sixteenth notes. This illustrates how the swing rhythm is

implied even though it isn’t specifically notated and how this composition is jazz-

influenced.

Melodic Elements

! An important characteristic of melodic elements in jazz is the use of the blues

scale or the use of blue notes. The traditional blues scale is a scale that is based upon

the minor pentatonic scale with a flat 5th scale degree. Due to the nature of the scale

and the comparison to common western scales, some notes of the scale appear to be

altered and sound either flattened or sharpened (Usher, Jeff). These are what are

known as blue notes. They are pitches that are deliberately altered to be raised or

lowered a half step and this usually occurs to scale degrees 3, 5, and 7 (Schuller 374).

These blue notes were originally developed to make the music more expressive.

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Example #21 from Williams’ Royal Garden Blues.


! In Example #21, blue notes are found throughout this jazz piece. The key is F

and so the blues scale is F, Ab, Bb, B, C, Eb, and F. The flattened third in measure 10,

Ab, and the flattened seventh in measure 13, Eb, are both found in this example and

serve as evidence of blue notes. Example #22 exemplifies the use of blues notes. In

this example, the key is E and the blue notes are the G♮ and the A#. The G♮ is flat

scale degree three and the A# is sharp scale degree four, which is just a

respelling of the flat 5th scale degree. This helps to show how jazz had an impact

on this composition.

! The blues scale listed above is commonly referred to as the minor blues scale.

This scale is based upon the minor pentatonic scale with the addition of a raised scale

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degree 4, or a flattened scale degree 5. (Usher, Jeff). For example, the spelling of the C

minor blues scale is:

Another common blues scale that’s utilized is the major blues scale. This is based upon

the major pentatonic scale and has a raised scale degree 2 or flattened scale degree 3

(Greenblatt n. pag.). For example, the spelling of the C Major blues scale is:



! In Example #23, there are elements of both the minor blues scale and the major

blues scale in the key of F. The F minor blues scale is:

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The F major blues scale is:

The first measure shows part of the major blues scale with the F, G, G#, and the A,

while the next two measures feature the minor blues scale with the Bb, B, and C. In

Example #24, the B minor blues scale is implied.

The B minor blues scale is:

In this example, all of the notes of the scale are shown, and some non-diatonic notes to

this scale are featured as well.

! Another significant characteristic of jazz melodies is the utilization of the riff. A riff

is a relatively short phrase that is repeated over a changing chord pattern (Randel 731).

It was originally a background device, but due to its increased use, it eventually became

a foreground device instead. The riff itself will stay the same while the underlying

harmony shifts underneath it ("Riff." The New Grove Dictionary of Jazz.). This riff will

create clashes with the melody and the harmony in the form of intervallic dissonance.

This dissonance is used to increase tension in the piece. These riffs will usually be

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repeated and varied upon to display their importance within the overall musical

statement. Many times the riffs are displaced by a certain interval such as a perfect

fourth or fifth to open up the possibilities of modulation (Schuller 48-49). Often, the

modulation can and does occur when the riff is repeated without variation.

Example #25 from Handy’s St. Louis Blues.


! Example #25 provides an example of a riff, which is the top line of the phrase in

this jazz piece. This motive, or riff is found throughout the piece. It is stated in its original

form like how it’s repeated in the example, and it’s also transposed by different

displacements at other sections of the piece. In Example #26, the part in the right hand

is the riff that occurs throughout the piece. The riff modulates to many keys and is also

used in a fugue-like section of the piece. The fact that both pieces utilize riffs show how

the composition from Example #26 is jazz-influenced since it occurred years after the

jazz piece from Example #25.

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! Example #27 is used to provide evidence of intervallic dissonance used in early

jazz. This can be seen in the on the second half of the first beat where there is an Bb

and C in the left hand part, and then a B is played in the right hand part. This creates a

dissonant interval of a minor ninth from the Bb to the B and a major seventh from the C

to the B. This dissonance is used to add more color to the piece and to increase

tension. Example #28 is used to exemplify the purposeful use of dissonance as seen in

the top two notes of the right hand in both measures of this particular riff. This gave the

piece similar effects as Example #27 and shows how the composition from Example

#28 was influenced by jazz.

! Another important characteristic of jazz is that there is a stronger emphasis on

chromaticism than there was in Western music at the time. These chromatic notes were

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often used as melodic passing tones instead of being placed on strong beats (Liebman).

This allowed the melodic line to become stronger due to the increased reliance on half-

step motion as opposed to the weaker whole-step motion. This can also be seen in the

use of linear chromaticism where there would be many chromatic pitches in succession

in the same direction whether that be ascending or descending.

Example #29 from Handy’s The Yellow Dog Blues.


! Example #29 provides proof for the use of chromaticism in early jazz music. In

the left hand piano part, a chromatic scale is found from D all the way to C. This

chromaticism is found throughout the piece. In Example #30, the chromaticism is seen

in the second note of the second measure. The melodic line descends chromatically

from F# all the way to G in the next measure. This shows how Example #30 was

influenced by jazz and how linear chromaticism became more prominent in 20th century

classical music.

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Conclusion

! The purpose of this paper was to prove that American Jazz has influenced the

music of 20th century Ravel, Milhaud, Gershwin, and Copland. I accomplished this

through many steps. First, I explained how I selected the pieces, and I made the

distinction between jazz and jazz-influenced composition. Next, I gave crucial

background information on the four 20th century classical compositions and the

composers of the pieces to show how they have been influenced by jazz. Afterwards, I

did a harmonic, rhythmic, and melodic analysis of the four pieces: La Création du

Monde by Milhaud, Piano Concerto For The Left Hand by Ravel, Three Preludes by

Gershwin, and Three Moods by Copland. For every example I gave for the jazz-

influenced 20th century classical pieces, I gave an example of how those particular

characteristics were indeed found in jazz early enough to have possibly contributed to

the jazz influence on Copland, Gershwin, Milhaud, and Ravel and therefore in their

compositions.

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Persichetti, Vincent. Twentieth-Century Harmony: Creative Aspects and Practice. New ! York: W. W. Norton, 1961. Print.

Randel, Don Michael. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: ! Belknap of Harvard UP, 2003. Print.

"Ravel Piano Concertos." BBC News. BBC, 4 Apr. 2010. Web. 20 Nov. 2012.

"Riff." The New Grove Dictionary of Jazz. New York: Grove's Dictionaries of Music, Inc., ! 1988.

Ross, Alex. The Rest Is Noise: Listening to the Twentieth Century. 1st ed. New York: ! Farrar, Straus and Giroux, 2007. Print.

Routh, Francis. Contemporary Music: An Introduction. London: English Universities P., ! 1968. Print.

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Shipton, Alyn. A New History of Jazz. New York: Continuum, 2007. Print.

Usher, Jeff. Debunking the Blues Scale. Griffith University, 5 Aug. 2008. Web. 15 Nov. ! 2012.

"Was the Harmonic Language of Early Jazz Entirely New, or Did It Derive in Part from ! Classical Music?" Jazz History for OCR As Music. Edublogs.org, Feb. 2009. ! Web. 20 Nov. 2012.

Bibliography-Scores

Brooks, Shelton. The Darktown Strutters’ Ball. 1917. Novato Music Press, 1917. Print.

Brooks, Shelton. Some of These Days. 1910. Rossiter, Will, 1910. Print.

Carleton, Bob. Ja-Da. 1918. EMI Music Publishing, 1918. Print.

Confrey, Zez. Stumbling. 1918. Novato Music Press, 1918. Print.

Copland, Aaron. Three Moods. 1921. Boosey & Hawkes, 1921. Print.

Gershwin, George. Three Preludes. 1926. New World Music Corporation, 1927. Print.

Handy, W.C. Beale Street Blues. 1916. Pace & Handy Music Co. Inc., 1916. Print.

Handy, W.C. St. Louis Blues. 1914. Handy Bros. Music Co. Inc., 1914. Print.

Handy, W.C. The Yellow Dog Blues. 1919. Pace & Handy Music Co. Inc., 1919. Print.

Jerome, M.K. Jazz Baby. 1919. Waterson, Berlin, & Snyder Co., 1919. Print.

Milhaud, Darius. La Création du Monde. 1923. Editions Max Eschig, 1923. Print.

Norton, George A. The Memphis Blues. 1912. Joe Morris Music Co., 1913. Print.

Ravel, Maurice. Piano Concerto For The Left Hand. 1930. Durand & Cie., 1931. Print.

Waller, Thomas, and Clarence Williams. Wild Cat Blues. 1923. Great Standard's ! Music/Universal MCA Music Publishing, 1923. Print.

Williams, Spencer. Royal Garden Blues. 1919. Bergeron, Guy, 1919. Print.

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Extended Essay-Final