Rich Pellegrin
Rich Pellegrin was appointed to the UF faculty in 2017 as Assistant Professor of Music Theory, and is also an affiliate faculty member of the Center for Arts, Migration, and Entrepreneurship. He previously taught music history, theory, jazz, and improvisation at the University of Missouri and at the University of Washington, where he completed his PhD in 2013.
Pellegrin’s research examines the significance of the Salzerian analytical tradition with respect to both the classical and jazz idioms. He has presented papers at numerous regional, national, and international conferences. His work has been published in Engaging Students: Essays in Music Pedagogy, the Journal of Schenkerian Studies, Jazz Perspectives, and in volumes by Cambridge Scholars Publishing and KFU Publishing House. Pellegrin recently served as Guest Editor of a special issue of Jazz Perspectives devoted to John Coltrane. He is currently working on a book entitled Analytical Approaches to Jazz: Tonal, Modal, and Beyond.
As a jazz pianist, composer, and bandleader, he has released three albums on Origin Records’ OA2 label. His most recent record was reviewed in Downbeat Magazine, which described "moments of absolute bliss" and wrote, "Pellegrin does as the great pianists do, supplying encouragement and graceful touches in the background, before diving forward to take solos that are by turns florid and cracked, balletic and modern." He is currently working on a multi-volume solo project, the first disc of which will be released in 2021.
In 2014, Dr. Pellegrin produced the Mizzou Improvisation Project, an interdisciplinary festival which brought together a diverse range of scholars, performers, educators, improvisers, and composers. The festival included a collaborative recording session with Pellegrin’s Seattle-based band and the Mizzou New Music Ensemble, material from which was released on his recent album, Down.
Dr. Pellegrin holds degrees from Oberlin College, Kent State University, and the University of Washington, and has also worked extensively as a church organist and choirmaster.
Supervisors: Áine Heneghan
Pellegrin’s research examines the significance of the Salzerian analytical tradition with respect to both the classical and jazz idioms. He has presented papers at numerous regional, national, and international conferences. His work has been published in Engaging Students: Essays in Music Pedagogy, the Journal of Schenkerian Studies, Jazz Perspectives, and in volumes by Cambridge Scholars Publishing and KFU Publishing House. Pellegrin recently served as Guest Editor of a special issue of Jazz Perspectives devoted to John Coltrane. He is currently working on a book entitled Analytical Approaches to Jazz: Tonal, Modal, and Beyond.
As a jazz pianist, composer, and bandleader, he has released three albums on Origin Records’ OA2 label. His most recent record was reviewed in Downbeat Magazine, which described "moments of absolute bliss" and wrote, "Pellegrin does as the great pianists do, supplying encouragement and graceful touches in the background, before diving forward to take solos that are by turns florid and cracked, balletic and modern." He is currently working on a multi-volume solo project, the first disc of which will be released in 2021.
In 2014, Dr. Pellegrin produced the Mizzou Improvisation Project, an interdisciplinary festival which brought together a diverse range of scholars, performers, educators, improvisers, and composers. The festival included a collaborative recording session with Pellegrin’s Seattle-based band and the Mizzou New Music Ensemble, material from which was released on his recent album, Down.
Dr. Pellegrin holds degrees from Oberlin College, Kent State University, and the University of Washington, and has also worked extensively as a church organist and choirmaster.
Supervisors: Áine Heneghan
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The second half of the study applies these lines of inquiry to jazz. As in the classical idiom, a strict Schenkerian approach to jazz works best when applied to a certain segment of the canon. A less strict approach, and one according increased weight to salience (after Lerdahl), is required to adequately address repertoire falling outside of this limited scope. The value of jazz analysis in the Salzerian tradition is evidenced in part by a transcription and analysis of a complete performance of “Green Chimneys” by the Thelonious Monk Quartet, that which appears on Columbia Records’ 1996 reissue of Straight, No Chaser (1967). This analysis reveals sophisticated large-scale organization, including motivic parallelism operating on all structural levels—that of a complete single-chorus improvisation, a complete multi-chorus improvisation, the solo section taken as a whole, and the composition itself, as well as various lower levels.
In other work, I have discussed salience and stability mostly in terms of pitch space. In this essay, I extend the scope of these concepts to the realm of hypermeter and phrase rhythm, aiming to provide readers with a means to help students hear these rhythmic phenomena in CPE repertoire. In order to accomplish this, I will present four sets of hypermetric conducting exercises involving different combinations of genre, scope, phrase structure, and rhythmic character. In all exercises except for the last set, hypermetric structure and underlying phrase structure generally align, and thus I will sometimes use these terms interchangeably.
https://theconversation.com/why-improvisation-is-the-future-in-an-ai-dominated-world-166724
The second half of the study applies these lines of inquiry to jazz. As in the classical idiom, a strict Schenkerian approach to jazz works best when applied to a certain segment of the canon. A less strict approach, and one according increased weight to salience (after Lerdahl), is required to adequately address repertoire falling outside of this limited scope. The value of jazz analysis in the Salzerian tradition is evidenced in part by a transcription and analysis of a complete performance of “Green Chimneys” by the Thelonious Monk Quartet, that which appears on Columbia Records’ 1996 reissue of Straight, No Chaser (1967). This analysis reveals sophisticated large-scale organization, including motivic parallelism operating on all structural levels—that of a complete single-chorus improvisation, a complete multi-chorus improvisation, the solo section taken as a whole, and the composition itself, as well as various lower levels.
In other work, I have discussed salience and stability mostly in terms of pitch space. In this essay, I extend the scope of these concepts to the realm of hypermeter and phrase rhythm, aiming to provide readers with a means to help students hear these rhythmic phenomena in CPE repertoire. In order to accomplish this, I will present four sets of hypermetric conducting exercises involving different combinations of genre, scope, phrase structure, and rhythmic character. In all exercises except for the last set, hypermetric structure and underlying phrase structure generally align, and thus I will sometimes use these terms interchangeably.