First Advisor

Kovalcheck, Steven

Second Advisor

Casey, Brian

First Committee Member

Zaremba, Drew

Second Committee Member

Vaughan, Angela

Degree Name

Doctor of Arts

Document Type

Dissertation

Date Created

12-2025

Department

College of Performing and Visual Arts, Music, Music Student Work

Abstract

The development of jazz violin has always been multifaceted. Not only has it followed the evolution of jazz, but it has also established its own parallel genres. Since the swing era, the violin no longer remains a top choice for jazz musicians as opposed to early jazz musicians who often doubled on string instruments. Intriguingly, the decline of its popularity in larger ensembles did not inhibit the growth of the jazz violin. Not only did jazz violinists thrive in small jazz ensembles, but its distinct blend with other string music genres also reached styles beyond the common narrative of jazz history. Many developing violinists have experienced this cross-pollination phenomenon. This phenomenon has often been overlooked by the general public and even researchers. The default assumption of world-renowned jazz violinists such as Joe Venuti, Eddie South, Stéphane Grappelli, and Jean-Luc Ponty only provided scholars a fraction of the entire scope. The purpose of this study was to trace the lineage of jazz violin by examining three influential and stylistically distinct contemporary jazz violinists: Scott Tixier, Jason Anick, and Billy Contreras. The analyses were based on their recordings, biographies, method books, and most importantly, personal interviews to highlight their contributions to the ongoing evolution of jazz violin playing.

Abstract Format

html

Language

English

Extent

145 pages

Rights Statement

Copyright is held by the author.

Digital Origin

Born digital

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