Abstract

This master thesis discloses how studies in the music and methods associated with pianist, composer and educator Lennie Tristano (1919-1978) have led to the creation of new music. 

Through transcription of some of Tristano’s most pivotal improvisations and compositions I have highlighted musical concepts e. g. melodic lines, vertical structures, superimposed harmony and meter that I have found idiosyncratic to him. Then I have alsoanalyzed Tristano’s approach to these concepts. Finally, to turn theory into practice I have composed études that treat the aforementioned concepts. Throughout the project, these études have evolved from exercise pieces to pieces of music, ready to be presented to an audience.

The work has broadened my musical vocabulary and has given me new tools for music creation. It also has made me question my habitual paths to expression and helped me to a greater trust in my musical intuition. This thesis could be of interest for musicians and composers interested in improvised melodic line, and/or the music of Lennie Tristano and his associates.