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Summary and Assessment
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Chapter 10 pulls together information from the analytical chapters and provides a summary via a series of tables. These tables include the Parker contrafacts based on “Honeysuckle Rose” and rhythm changes; Parker’s works enumerated by category, key, contrafact, and primary line; Parker’s attitude toward revisions and adaptations; what tunes Parker liked to call on the bandstand; and what works might be excluded from a list of Parker compositions, if a more traditional understanding of composition is assumed. The chapter concludes with discussions of Parker’s tendencies toward quotation and self-quotation, his interest in twentieth-century concert music (an ambition he was unable to fulfill), and his overall compositional legacy.
Title: Summary and Assessment
Description:
Chapter 10 pulls together information from the analytical chapters and provides a summary via a series of tables.
These tables include the Parker contrafacts based on “Honeysuckle Rose” and rhythm changes; Parker’s works enumerated by category, key, contrafact, and primary line; Parker’s attitude toward revisions and adaptations; what tunes Parker liked to call on the bandstand; and what works might be excluded from a list of Parker compositions, if a more traditional understanding of composition is assumed.
The chapter concludes with discussions of Parker’s tendencies toward quotation and self-quotation, his interest in twentieth-century concert music (an ambition he was unable to fulfill), and his overall compositional legacy.
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