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Includes bibliographical references (leaves 350-359). 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.

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 (M.A.)--University of Kentucky, 2001. / Title from document title page. Document formatted into pages; contains viii, 69 p. : ill. Includes abstract. Includes bibliographical references (p. 67-68).

Thesis (Ph. D.)--University of Chicago, Dept. of Music, Dec. 2003. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--York University, 2001. / Typescript. "Publisher's no.: UMI NQ67904." Includes bibliographical references (leaves 388-421). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67904.

Thesis (Ph. D.)--York University, 2001. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 388-421). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67904.

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Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 1, 2008) Includes bibliographical references.