An HMM-Based Approach for Cross-Harmonization of Jazz Standards by Maximos Kaliakatsos-Papakostas, Konstantinos Velenis, Leandros Pasias, Chrisoula Alexandraki, Emilios Cambouropoulos

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PRINCIPLES AND METHODS OF WORKING WITH JAZZ STANDARDS IN THE PROCESS OF IMPROVISION by BEREZOVICOVA TATIANA, DAȘEVSCHI VEACESLAV

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JAZ LANGUAGE INFLUENCE ON THE SONG TE SALUT, CHIŞINĂU BY OLEG NEGRUŢA by CORJAN ANGELA

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An exploration of Bob Mintzer's arrangement of footprints by wayne shorter for saxophone quintet and rhythm section / Affifi Adzlan Ahmad by Ahmad, Affifi Adzlan

“…As a student majoring in music performance, I always perform jazz standards during my years of studies, but most of the time, I forgot the basic skills as I advance in my semester. …”
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Cover versions as an impact indicator in popular music: A quantitative network analysis. by José Luis Ortega

“…In a first phase from 1900s to 1950s, dominated by Jazz and Vocal artists, the covers are more frequent and associated with the notion of reworking (e.g. jazz standards); in a second stage, since the 1950s, when the Pop/Rock emerges, cover songs are less common and seen as tribute.…”
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On the Adaptability of Recurrent Neural Networks for Real-Time Jazz Improvisation Accompaniment by Kosmas Kritsis, Kosmas Kritsis, Theatina Kylafi, Maximos Kaliakatsos-Papakostas, Aggelos Pikrakis, Vassilis Katsouros

“…Specifically in jazz improvisation, the role of the accompanist is crucial for reflecting the harmonic and metric characteristics of a jazz standard, while identifying in real-time the intentions of the soloist and adapt the accompanying performance parameters accordingly. …”
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Shared periodic performer movements coordinate interactions in duo improvisations by Tuomas Eerola, Kelly Jakubowski, Nikki Moran, Peter E. Keller, Martin Clayton

“…We made use of two improvising duo datasets—(i) performances of a jazz standard with a regular pulse and (ii) non-pulsed, free improvizations—to investigate whether human judgements of moments of interaction between co-performers are influenced by body movement coordination at multiple timescales. …”
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Jazz improvisers’ shared understanding: A case study by Michael F. Schober, Neta eSpiro, Neta eSpiro

“…Two experienced jazz musicians who had never previously played together played three improvisations on a jazz standard (It Could Happen to You) on either side of a visual barrier. …”
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Listeners' and performers' shared understanding of jazz improvisations by Michael F Schober, Neta Spiro, Neta Spiro

“…This study explores the extent to which a large set of musically experienced listeners share understanding with a performing saxophone-piano duo, and with each other, of what happened in three improvisations on a jazz standard. In an online survey, 239 participants listened to audio recordings of three improvisations and rated their agreement with 24 specific statements that the performers and a jazz-expert commenting listener had made about them. …”
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Musical Interaction Reveals Music as Embodied Language by Alessandro Dell’Anna, Alessandro Dell’Anna, Marc Leman, Annamaria Berti

“…In doing so, we draw on both cognitive musicology and neuroscience to outline a comprehensive framework of musical interaction, exploring several aspects of making music in dyads, from a very basic proto-musical action, like tapping, to more sophisticated contexts, like playing a jazz standard and singing a hocket melody. Our framework combines embodied and predictive features, revolving around the concept of joint agency (Pacherie, 2012; Keller et al., 2016; Bolt and Loehr, 2017). …”
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