René Rusch
Biographic Data
| ID | 1163719 |
|---|---|
| NAME | René Rusch |
| GIVEN NAMES | René |
| FAMILY NAME | Rusch |
| SIGNATURE | RUSCH R |
| AFFILIATIONS | McGill University |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Schubert’s Workshop, i: Towards an Early Maturity . By Brian Newbould
Capturing the Ineffable: Three Transcriptions of a Jazz Solo by Sonny Rollins
What purpose does a jazz transcription serve? What is at stake in a jazz transcription? What is being represented and how? This article considers these questions, drawing from three independently-conceived transcriptions of the same jazz solo by tenor saxophonist Sonny Rollins. Following an introduction that situates our views of jazz transcription within the context of recent discourse on transcription and notation, we present our transcriptions…
Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80
When Schubert’s instrumental pieces seem to directly quote or allude to Beethoven’s works, some music scholars have interpreted these forms of appropriation either as musical homage or as evidence that Schubert modeled several of his works on Beethoven’s. Other scholars have encouraged us to rethink these perspectives, suggesting instead that the same forms of appropriation can be read as active responses or antipodes to Beethoven’s music. This p…
Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android: The Role of Jazz Improvisation in the Transformation of an Intertext
This paper explores the intertextual relationships between popular music songs and their jazz adaptations, or “covers.” In a jazz adaptation of a pop song, the improvisatory section wedged between two more or less complete statements of the pop song forms the crux of the jazz performance. Improvisation affords musicians an opportunity to create something new out of an existing musical work and, as I suggest in this paper, has the potential to tra…
R ethinking C onceptions of U nity: S chubert ' s M oment musical in A♭ major , D. 780 (O p . 94) No. 2
A number of scholars have suggested that the sudden harmonic shifts, remote tonal regions and discontinuity of gestures in Schubert's works can be rationalised through certain conceptions of musical unity. Yet what if we were to entertain the possibility that these musical gestures do not coalesce in a greater whole? What other options are available to us for understanding part‐whole relationships? In this article, I suggest that the notion of Ro…
Capturing the Ineffable: Three Transcriptions of a Jazz Solo by Sonny Rollins
What purpose does a jazz transcription serve? What is at stake in a jazz transcription? What is being represented and how? This article considers these questions, drawing from three independently-conceived transcriptions of the same jazz solo by tenor saxophonist Sonny Rollins. Following an introduction that situates our views of jazz transcription within the context of recent discourse on transcription and notation, we present our transcriptions…
Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android: The Role of Jazz Improvisation in the Transformation of an Intertext
This paper explores the intertextual relationships between popular music songs and their jazz adaptations, or “covers.” In a jazz adaptation of a pop song, the improvisatory section wedged between two more or less complete statements of the pop song forms the crux of the jazz performance. Improvisation affords musicians an opportunity to create something new out of an existing musical work and, as I suggest in this paper, has the potential to tra…
R ethinking C onceptions of U nity: S chubert ' s M oment musical in A♭ major , D. 780 (O p . 94) No. 2
A number of scholars have suggested that the sudden harmonic shifts, remote tonal regions and discontinuity of gestures in Schubert's works can be rationalised through certain conceptions of musical unity. Yet what if we were to entertain the possibility that these musical gestures do not coalesce in a greater whole? What other options are available to us for understanding part‐whole relationships? In this article, I suggest that the notion of Ro…
R ethinking C onceptions of U nity: S chubert ' s M oment musical in A♭ major , D. 780 (O p . 94) No. 2
A number of scholars have suggested that the sudden harmonic shifts, remote tonal regions and discontinuity of gestures in Schubert's works can be rationalised through certain conceptions of musical unity. Yet what if we were to entertain the possibility that these musical gestures do not coalesce in a greater whole? What other options are available to us for understanding part‐whole relationships? In this article, I suggest that the notion of Ro…
Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80
When Schubert’s instrumental pieces seem to directly quote or allude to Beethoven’s works, some music scholars have interpreted these forms of appropriation either as musical homage or as evidence that Schubert modeled several of his works on Beethoven’s. Other scholars have encouraged us to rethink these perspectives, suggesting instead that the same forms of appropriation can be read as active responses or antipodes to Beethoven’s music. This p…
Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android: The Role of Jazz Improvisation in the Transformation of an Intertext
This paper explores the intertextual relationships between popular music songs and their jazz adaptations, or “covers.” In a jazz adaptation of a pop song, the improvisatory section wedged between two more or less complete statements of the pop song forms the crux of the jazz performance. Improvisation affords musicians an opportunity to create something new out of an existing musical work and, as I suggest in this paper, has the potential to tra…
Capturing the Ineffable: Three Transcriptions of a Jazz Solo by Sonny Rollins
What purpose does a jazz transcription serve? What is at stake in a jazz transcription? What is being represented and how? This article considers these questions, drawing from three independently-conceived transcriptions of the same jazz solo by tenor saxophonist Sonny Rollins. Following an introduction that situates our views of jazz transcription within the context of recent discourse on transcription and notation, we present our transcriptions…
Schubert’s Workshop, i: Towards an Early Maturity . By Brian Newbould
Art (5 works) · Literature (4 works) · Musicology and Musical Analysis (4 works) · Linguistics (3 works) · Music History and Culture (3 works) · Musical (3 works) · Philosophy (3 works) · Psychology (3 works) · Aesthetics (2 works) · Jazz (2 works)