Made available in DSpace on 2016-03-15T19:42:06Z (GMT). No. of bitstreams: 1 Thiago Mori Leite.pdf: 2813630 bytes, checksum: 8ada9b1b61f043ea38d9e00285d1ab89 (MD5) Previous issue date: 2011-06-21 / Fundo Mackenzie de Pesquisa / This paper presents an investigation regarding how the artistic languages of music and painting can share and exchange aesthetic elements related to the organization (or even, sometimes, the disruption) of language structures, executed by the artists during their creating process. Right after the Second World War, New York City was made home by artists who expressed themselves in different ways, a fact that made possible the emergency of many artistic movements, including two artistic vanguard that stood by improvisation and spontaneity in the creative process: John Coltrane‟s Free Jazz and Jackson Pollock‟s Action Painting. Both artistic movements have always been intertwined and supportive to each other. Although their languages belong to different arrays, its elements are transfigured among the two territories. Proposing an analysis in semiotic and aesthetic terms, this paper attempts to relate the main artistic elements in the performances of a jazz musician and an abstract expressionist painter: the intensity with which their works are produced throughout their improvisations. The documents, the main biographical references, including recordings of artists‟ performances - videos, discographies and pictures - used during the research are from the period between 1947 and 1967 / Este trabalho parte de uma averiguação de como as linguagens artísticas da música e da pintura podem intercambiar elementos estéticos através do modo como os artistas organizam, ou, às vezes, desorganizam toda linguagem estrutural vigente durante o processo de criação de suas obras. Logo após a segunda grande guerra mundial, a cidade de Nova Iorque abrigava artistas de áreas distintas, fomentando o aparecimento de vários movimentos artísticos, entre eles duas vanguardas artísticas que se destacavam pelo improviso e pelo caráter de espontaneidade durante o processo criativo: o Free-Jazz de John Coltrane e a Action Painting de Jackson Pollock. Os dois movimentos artísticos sempre estiveram entrelaçados dando suporte um ao outro. Suas linguagens pertencem a matrizes diferentes, mas seus elementos se transfiguram nas duas esferas. Analisando semiótica e esteticamente as performances de um músico de jazz e de um pintor expressionista abstrato, este trabalho busca relacionar o elemento principal de suas artes: a intensidade com que produziam suas obras através de seus improvisos. Os documentos, as principais referências biográficas, inclusive os registros performáticos dos artistas vídeos, discografias e pinturas utilizados nesta pesquisa são do período compreendido entre 1947 e 1967

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African music and its musicians from the Pharaonic periods to Mali to the Mississippi Delta to the South Bronx have contributed some of the most lasting and influential cultural creations known. The music and musicians of Africa have been studied as early as the early 18th century. As interest in African music grew so did the discipline of ethnomusicology. Ethnomusicology has sought to understand, interpret and catalog the various areas of African music. In the United States interest in the music as a continuation of African culture was also sought after and investigated as an important area of research. The main objective of this project is to help expand the methodological approaches in the study of African Diasporan musical cultures and their practitioners. The author undertook a critical examination of the previous works on the subject made by both Continental and Diasporan African scholars, in addition to fieldwork in the United States and Africa (Ghana). Through considering the work songs of Pharaonic Egypt, the cosmogram of the Bantu-Kongo and the life of John Coltrane in particular this proposed work articulates new methodological tools in the research of African music and musicians. / African American Studies

I den här undersökningen har jag fördjupat mig i två framstående jazzmusikers improvisationergenom transkribering och analys. Med hjälp av egenproducerade backing tracks har tre egna improvisationer därefter spelats in i syfte att undersöka instuderingens inverkan på min egen musikaliska praktik och mina konstnärliga val därtill. De tre egna improvisationerna har haft olika utgångspunkter i avsikt att kunna jämföras med varandra. Arbetet har resulterat i nya insikter om mig själv som improvisatör, en djupare förståelse för Miles Davis och John Coltrane samt bidragit till ny konkret kunskap för improvisation på Rhythm Changes.

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This study documents and analyzes cyclic patterns used as melodic vocabulary in John Coltrane's improvisations from compositions of 1965 to 1967. The analysis is categorized in two distinct sections. The first section analyzes melodic vocabulary that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section analyzes melodic vocabulary that is derived from Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns using the theoretical terminology incorporated in the treatise. Musical examples consist of patterns from the Thesaurus and excerpts from selected improvisations of John Coltrane as transcribed by Andrew White. Important scholarly contributions relevant to the subject by Carl Woideck, Lewis Porter, David Demsey, and Walt Weiskopf are included. Every effort has been made to cite interviews with musicians and commentaries by writers contemporary to that period of time with special emphasis on the important influence of Thelonious Monk, Miles Davis, and Ornette Coleman. Chapter headings include: Literature Review and Methodology; Thelonious Monk, Miles Davis, and Ornette Coleman: Converging Influences; Analysis: Coltrane's Major Thirds Harmonic Cycles Used as Melodic Vocabulary; Interval Cycles in Coltrane's Melodic Vocabulary Based on Patterns from Slonimsky's Thesaurus; Summary and Conclusion.

This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.

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