Disrupting Periodicity in Jazz Composition through Gagaku-Informed Listening Constraints
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Abstract
This article documents a practice-led compositional project in which two jazz compositions were developed through temporal and melodic constraints derived from immersive listening to Japanese gagaku. Rather than borrowing repertoire, instrumentation, or stylistic surface, the project targets a specific compositional habit: the default use of 16- and 32-bar periodicity. Comparative listening informed constraints around pitch-centre anchoring without functional cadence, rotating pitch cells, near-unison texture, and acceleration perceived retrospectively. Two contrasting pieces, one in swing and one in bossa nova, translate these constraints through altered phrase lengths, delayed harmonic rhythm, and melody-led formal organisation. Lead-sheet excerpts and short audio examples demonstrate how listening-derived constraints can reshape jazz compositional process while remaining performable and improvisation-friendly. The article contributes to music creation studies by demonstrating how intercultural listening can serve as a compositional method without necessitating stylistic imitation or fusion.
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