Rhythmisch-metrische Strukturen
in der Musik von Wynton Marsalis
The study focusses on metric processes in Marsalis' work between 1983 and 1989. Playing with a highly developed variety of meters (polymetric, bimetric, simultaneously and suc-cessively) is characteristic for Marsalis' solos and compositions within this period. Additionally, metric change and metric ambiguiety are handled as prominent features for group interaction within the Marsalis-ensembles. The analysis shows, that within this metric processes ("metric picture-puzzles") freedom of metric use is allowed, but resolved correctly within a preconceived regular harmonic-metric form (chorus). Stressing parameters as a regular beat, swing and blues as "fundamentals" of jazz, Marsalis follows a more restrictive view within the discussion of postmodern music-making. Nevertheless, his work shows explicit postmodern features as stylistic double-coding and a circular conception of history. His concept of metric improvisation doesn't follow conventional ideas and is highly original.