The study discusses aspects of Fischer’s status and influence within the jazz community, his stylistic network, his work in the popular music sector, the concept of emotion in his music, and his relationship in socio-cultural and musical terms with Dimitri Shostakovich and Bill Evans. Various methodological and theoretical considerations are outlined and a pragmatic approach towards the examinations of both Fischer’s socio-cultural context and distinctive harmonic process proposed. The harmonic component includes detailed comparative analyses of one composition and one solo piano performance, which reveal aspects of influence and considerable detail regarding Fischer’s idiosyncratic harmonic style. It incorporates not only the results of interviews with Fischer himself, family members and long-time colleagues, but also introduces a large collection of private letters, used exclusively in this study by permission of Fischer’s wife Donna. This study presents socio-cultural and harmonic analyses of Clare Fischer’s compositional approach. The insights gained through this reflective self-examination suggests that not only is it a practice of great worth from a personal perspective, but also offers a model for others who wish to remain alert to the quality of their own musical output, and the measure, as far as it is possible, of their creativity. While formal study with influential figures (players and teachers) is important, underpinning the whole learning process is the aural comprehension of sounds the end musical product being recorded performances submitted here as the primary source. Notwithstanding the limitations of traditional musical notation, transcriptions examined in this study show clearly influences both from past learning and from musicians who continue to have a powerful influence - consciously and sub-consciously - on the author's playing and thought processes in music. It is argued that deep investigation into one's own playing, complemented by critical contemplation, offers insights into improvised performance that can add a significant dimension to the analysis and observations made by other people. It is a practice-based research project with two objectives, the first to uncover degrees to which pre-learnt skills and idiosyncratic creations occur and interact in music-making, and the second to contribute to the body of knowledge in spontaneous improvised music research: an area of the art which at this time is beginning to invite intense enquiry. ![]() ![]() This exegesis examines influences, processes and idiosyncrasies in musical improvisation in a jazz context, identified through analysis and observation of selected, recorded performances by the author. Following this chronological catalogue, the paper concludes with a comparative analysis of the findings of this inventory, and of the most significant characteristics and data of the compositions presented here. The main purpose of this research is to describe and examine the various jazz compositions dedicated to this literary myth that have been recorded, published or performed in the second half of the 20 th century and in the first fifteen years of the 21 st, including works by composers such as Kenny Wheeler, Mitsuaki Kanno, Richard Carr, Carlo Actis Dato, Roberto Nannetti, Ron Westray, or Jasper van't Hof. By way of introduction, this study provides an overview of jazz music related to this literary classic in general, and of works of other musical genres-classical, pop, rock-inspired by Dulcinea the role, the function and the symbolism of this character in the novel are also briefly summarized. The present article deals with a hitherto unexplored aspect of the reception of Miguel de Cervantes' novel Don Quixote in music: the presence of Dulcinea in jazz, in the past fifty years (1965–present).
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