In the academic study of Wayne Shorter’s compositions, so far most of the attention has been dedicated to the harmony in pieces from the 1950s and ’60s. In this article, I will analyze three compositions dating from 1964 and 1965, “E.S.P.,” “Infant Eyes,” and “Virgo,” while taking a more holistic approach. I examine all musical parameters and demonstrate there exists a great interdependency and entwinement of the varying parameters within each composition. These analyses also consider the broader context in which these pieces were created, such as how they may relate to other compositions, or other repertoires more generally. The analyses demonstrate that Shorter uses varying techniques and procedures, even within single pieces. It turns out that the type of analysis of individual pieces proposed here is an essential step towards a better understanding of Shorter’s compositional style. DOI: 10.30535/mto.25.4.2 Volume 25, Number 4, December 2019 Copyright © 2019 Society for Music Theory

中文翻译：

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韦恩·肖特 (Wayne Shorter) 的三首多面作品

在对韦恩·肖特 (Wayne Shorter) 作品的学术研究中，迄今为止，大部分注意力都集中在 1950 年代和 60 年代作品的和谐上。在这篇文章中，我将分析可以追溯到 1964 年和 1965 年的三首作品，“ESP”、“Infant Eyes”和“Virgo”，同时采取更全面的方法。我检查了所有的音乐参数，并证明每个作品中的不同参数之间存在很大的相互依赖和交织。这些分析还考虑了创作这些作品的更广泛的背景，例如它们如何与其他作品或其他更普遍的曲目相关。分析表明，Shorter 使用了不同的技术和程序，即使是在单件中。事实证明，这里提出的对单个作品的分析类型是更好地理解肖特的作曲风格的重要一步。DOI: 10.30535/mto.25.4.2 Volume 25, Number 4, December 2019 版权所有 © 2019 Society for Music Theory