Thesis--Wesleyan University. / Includes bibliographical references (leaves 191-205). Discography: leaves 168-190.

Thesis (Ph. D.)--City University of New York, 1990. / Discography: leaves 259-270. Includes bibliographical references (leaves 344-352).

Thesis (D.M.A.)--University of North Texas, 2003. / Accompanied by recitals, recorded Apr. 20, 1992, Nov. 15, 1993, and Nov. 11, 2002. Includes bibliographical references (p. 113).

Notre thèse propose de réexaminer la question du style dans les improvisations de John Coltrane. De nombreux travaux mettent en lumière des changements stylistiques abrupts et certaines étrangetés, mais l’œuvre coltranienne est globalement considérée comme le résultat d’un seul style en constante évolution. N’y aurait-il pas, au contraire, plusieurs styles dans l’œuvre de John Coltrane ? Si le style est ce qui permet de « marquer la différence », comment interpréter cette labilité stylistique ? Dans le premier chapitre, nous nous interrogeons sur le style et l’analyse stylistique dans le jazz. Dans le deuxième chapitre, nous dressons un panorama des travaux analysant le style de John Coltrane, et de ceux nous permettant, par une mise-en-série, de réaliser une analyse stylistique. Dans le troisième chapitre, nous nous attachons à explorer la période précoce méconnue de l’œuvre coltranienne et à prouver qu’on y trouve également des mouvements stylistiques importants. Dans le quatrième chapitre, nous effectuons une synthèse de nos travaux et de ceux existant. Nous démontrons l’existence de plusieurs styles et discutons des antagonismes et des étrangetés stylistiques relevés. Pour finir nous formulons l’hypothèse d’un lien entre les phénomènes stylistiques observés et le vécu « d’enfant de remplacement » de John Coltrane. Nous faisons appel à la psychologie d’orientation analytique pour discuter ce dernier point. / Our Ph.D. ambitions to re-examine the question of style in John Coltrane’s improvisations. Numerous works on the subject put forth abrupt stylistic changes as well as some oddities, but Coltrane’s works are globally considered as the result of a single style, that would have evolved through time. Why not consider a collection of different styles, that, as a whole, would build up his art? If his style is what asserts an artist’s singularity, how could this lability be taken into account? In the first chapter, we question the notion of style and the very notion of stylistic analysis. In the second chapter, we present an overview of the various works analysing the style of John Coltrane and of those which have enabled us to propose a stylistic analysis through comparisons. In the third chapter, we cast a light on the – often neglected – early years of Coltrane’s career and demonstrate that even at that time, important stylistic changes can be traced. In the fourth chapter, we propose a synthesis of our study and the other existing works. We demonstrate the existence of a set of styles and discuss the antagonisms and oddities which were previously underlined. To finish, we suggest the possibility of a link between the stylistic phenomena we studied and the status of Coltrane as a “replacement child”. We carry out this discussion in a psychoanalytic perspective.

In Culture and Imperialism, Said illustrates that we have no "autonomous cultural forms," but rather "impure" ones that are the products of historically "discrepant experiences." American culture has an interesting relationship with the history of imperialism. The Europeans that settled the U.S. imported slave labor to assist in the growth of the new nation and this practice ironically "hybridized" American culture despite institutionalized segregation of the races, mixing disparate cultural ideas in a common social location. Said's theory fits an analysis of jazz in America since the music was instigated by the enslavement of native Africans, West Indians and inhabitants of the Caribbean, and the tensions this produced between traditional European and non-European cultural experiences are emblematic of its evolution into a popular form of music. Concomitant to its popularity in the later 1930s was a scholarly interest in the history of jazz, which culminated in narratives ascribing to it a recognizable "American" history and a set of familiar European aesthetic characteristics, neglecting the "discrepant experiences" of jazz history. During the 1940s, some artists were working with musical ideas that expanded the innovative spaces left open by those preceding them. Criticized for playing "anti-jazz," they produced music for audiences who were late to realize the significance of their contributions. Among them was John Coltrane, a saxophonist who took these controversial approaches into unconventional musical territories. Similar to the shortsighted criticisms weighed against his mentors, critics regarding Coltrane neglected the ways in which his music is important as an expression of the fundamental power struggles that are at the heart of American culture. I analyze several of Coltrane's recordings to illustrate how they are artifacts which can be studied for evidence of the tendency in narratives to preclude the "hybridity" important to the history of jazz. My focus is on the liner notes that accompany the recordings, which I read "contrapuntally" with other forces in their production in order to discuss the tensions between economics, communication and representation that are integral to an understanding of Coltrane's music. / Graduation date: 1999

Thesis (Ph. D.)--Cornell University, 1981. / Typescript. Vita. Vol. 2 contains musical transcriptions. Includes bibliographical references (leaves 205-210).

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

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.

Includes bibliographical references (leaves 350-359). / xi, 359 leaves : music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present. / Thesis (Ph.D.)--University of Adelaide, Elder Conservatorium, 2001

Thesis (M.A.)--East Tennessee State University, 2004. / Includes bibliographical references (leaves 105-113). Also available via Internet at the UMI web site.