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1	Melodic Organization in Four Solos by Ornette Coleman Cogswell, Michael 08 1900 (has links) The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography. jazz saxophonists musicology melodic organization Ornette Coleman Coleman, Ornette. Jazz -- Analysis, appreciation. Melodic analysis.
2	Frijazz äntrar scenen : Något nytt som skapar debatt och dess plats i den svenska jazzdiskursen / Free jazz enters the scene : Something new that generated debate and its place in the Swedish jazz narrative Jansson, Fredrik January 2019 (has links) When a new type of jazz, later often referred to as free jazz, entered the Swedish jazz scene at the time when the 1950s became the 1960s, an intense debate occurred within the Swedish jazz community. A debate between those in favor of the new style, its expressions and the direction in which jazz was moving towards in general, versus those who disliked this new development, thought that it was too extreme and was not in line with the traditions of jazz. This essay will bring this debate to light and analyze different aspects of it, with a similar controversy in mind which took place at the time of the arrival of bebop, approximately fifteen years earlier. The primary aim is to integrate free jazz into the Swedish jazz narrative, something that has been neglected in earlier research. Through discourse analysis, contemporary thoughts and values are brought to the surface. In part to better understand how and why these different opinions came to be, but above all, if they were part of other contemporary discussions, strives and struggles within the Swedish jazz community. The findings point towards the fact that free jazz played an important role in both the contemporary Swedish jazz discourse and the development of jazz at large. Free jazz expanded the spectrum of expression within the genre and helped jazz in general to reach a status of high culture, a strive that had existed for a long time. Jazz free jazz avant-garde the new thing bebop popular music art music jazz history 1950s 1960s Ornette Coleman Orkesterjournalen Estrad Jazz frijazz avantgarde bebop populärmusik konstmusik jazzhistoria 1950-talet 1960-talet Ornette Coleman Orkesterjournalen Estrad Musicology Musikvetenskap
3	Improvising resistance : jazz, poetry, and the Black Arts Movement, 1960-1969 Bateman, Richard Gethin January 2019 (has links) 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.
4	Sounds of Dissent: Sonic Representations of Resistance in 1960s Free Jazz Aldridge, James 27 January 2023 (has links) No description available. African American Studies African Americans American History Black History Black Studies Fine Arts Music Performing Arts jazz jazz studies Free Jazz resistance musicology cognitive musicology infrapolitics counterculture Ornette Coleman John Coltrane Eric Dolphy
5	What is "Jazz Theory" Today? Its Cultural Dynamics and Conceptualization Goecke, Norman Michael 18 August 2014 (has links) No description available. African American Studies Music Music Education African Americans jazz jazz theory jazz education music education African American Studies African American and African Studies African American culture Jamey Aebersold David Baker black music jazz pedagogy Miles Davis Jack Teagarden Ornette Coleman

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