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Patriarchal Music

by Kieran Daly

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School Work 07:19

about

All compositions by the author except "School Work" (Coleman, Phrase Text [ASCAP]). Recorded 2020-2021 by the author in Chicago, IL.

Block, S. (1997). “Bemsha Swing”: The Transformation of a Bebop Classic to Free Jazz. Music Theory Spectrum, 19(2), 206-231.
Frink, N. (2012). An Analysis of the Compositional Practices of Ornette Coleman as Demonstrated in His Small Group Recordings During the 1970s (Master's thesis, University of Pittsburgh).
Levy, B. R. (2009). Shades of the Studio: Electronic Influences on Ligeti's "Apparitions". Perspectives of New Music, 59-87.
Schmuckler, M. A., & Gilden, D. L. (1993). Auditory perception of fractal contours. Journal of Experimental Psychology: Human Perception and Performance, 19(3), 641.
Tougas, Y., & Bregman, A. S. (1985). Crossing of auditory streams. Journal of Experimental Psychology: Human Perception and Performance, 11(6), 788.
Vliegen, J., & Oxenham, A. J. (1999). Sequential stream segregation in the absence of spectral cues. The Journal of the Acoustical Society of America, 105(1), 339–346.
Waters, K. (2011). The Studio Recordings of the Miles Davis Quintet, 1965-68. Oxford University Press.

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released March 7, 2021

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Madacy Jazz Philadelphia, Pennsylvania

admin: Sam Sfirri, Kieran Daly

Inquiries: kierod@gmail.com

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