Importing and exploring the kramerian theory of musical postmodernism within contemporary Jazz performance

Jonathan Kramer specifies that musical postmodernism is capable of both embracing and repudiating history. This performance portfolio incorporates Kramer's ideas along with Crook's, Evans's and Galper's practical approaches for an investigation into the manipulation of melodic and rhythmic elements of improvisation via my simultaneous acceptance and rejection of American saxophonist Lee Konitz's musical language. Additional material(s) submitted with thesis.