비밥 재즈 즉흥연주의 무작위적 4음열의 원리

Abstract

The analysis on the bebop jazz improvisation so far has been confined within the boundary of the classical harmony, but 21 the unanalyzable abstractness behind the harmonic structure can be said to be the essential element of the beauty of bebop jazz. This thesis discusses the peripheral aspects of the abstract beauty, such as its origin and historical significance, hopefully being able to provide with the insight into its essence. The so-called “licks” that bebop musicians use are units of melodies that have length of a few measures. These licks can be further analyzed into groups of four eighth notes, and these four notes always tend to form a random pitch group. In the post-bop era, the tendency for the musicians to think in terms of four-note groups becomes even more prominent, and the lick is not used anymore. This idea of random four-note group can be conceptualized and signified as follows: Firstly, this randomness of four notes can be said to have been originated from western european classical music, especially chromatic ornamental phrases such as in Chopin. In that sense, modern 12 tone music can be said to be from the same origin as jazz music. Secondly, the technique of assembling these four-note groups in various ways has put the art of improvisation to new heights. This can be of historical significance because it successfully combined the logical structure of classical tonal music and the modern abstractness. This thesis tries to induce this kind of interpretation using the aid of some mathematical tools.