Authors: Jens Watts
Mentors: Brian Harker
Insitution: Brigham Young University
What is a standard at its essence? Wren 2022 suggests that in jazz scholarship, undue emphasis has been placed on the analysis of the standard as a work. Instead, the standard should be understood as an archive: the sum of all relationships between different iterations of the work. I posit that further work in this mode will help to correct an antiquated philosophy of music existing on a page and direct further attention to the act of ‘musicking,’ as promoted by Christopher Small in his 1998 book.
This article examines three jazz standards: “On the Sunny Side of the Street,” “Autumn Leaves,” and “On Green Dolphin Street.” These standards were chosen because of their varying interpretations in harmony and melody. My analysis of these standards is threefold: theoretical, historical, and ethnographic. I begin with an analysis of the published sheet music for each of these standards, examining unique features of their pitch content. From there, I depart to a historical analysis, examining changes in the performance of the tune over time.
The bulk of my research reports on an ethnography of jazz musicians on the Utah scene. My interlocutors were asked to play the standards in question, which I recorded. I examine common features of their interpretations, as well as salient differences. Some of their thoughts on these standards in particular and the practice of learning standards in general are also presented. The resulting collection of information on my multidisciplinary approach to analyzing standards reveals important aspects of the epistemology of jazz music and the ontology of standards themselves.