Mazzola Flow, Gesture, and Spaces in Free Jazz

Towards a Theory of Collaboration
1. Auflage 2008
ISBN: 978-3-540-92195-0
Verlag: Springer-Verlag
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 141 Seiten

Free jazz, as performed by such artists as John Coltrone and Archie Shepp, is a creative, collaborative art form. This book examines free jazz and develops geometric theories of gestures and distributed identities, also known as swarm intelligence.

Autoren/Hrsg.

Mazzola, Guerino

Inhaltsverzeichnis

1;Preface;6
2;Contents;9
3;Part I Getting off Ground;12
3.1;1 What Is Free Jazz?;13
3.1.1;1.1 The Social, and Political, and Musical Origins of the Movement;13
3.1.2;1.2 A Provisional Positive Characterization;17
3.2;2 Jazz in Transition;19
3.2.1;2.1 Archie Shepp’s Outside Performance at the Donaueschingen Musiktage 1967;19
3.2.2;2.2 John Coltrane’s A Love Supreme;20
3.2.3;2.3 Cecil Taylor and Buell Neidlinger:;23
3.2.4;2.4 Bill Evans: Gestural Dialogs with Scott LaFaro in Autumn Leaves;24
4;Part II The Landscape of Free Jazz;28
4.1;3 Out of this World;29
4.1.1;3.1 Sun Ra: An Extraterrestrial Romantic;30
4.1.2;3.2 In Search of The Blue Lotus Flower: Coltrane’s Om;32
4.1.3;3.3 Mythologies of The Art Ensemble of Chicago: Transforming Swords to Silent Gongs;34
4.2;4 The Art of Collaboration;37
4.2.1;4.1 A Short Overview of the Classical Ontological Landscape of Music;38
4.2.2;4.2 The Oniontological Extension to The Fourth Dimension;39
4.2.3;4.3 What Is The Art of Collaboration?;42
5;Part III Collaborative Spaces in Free Jazz;46
5.1;5 Which Collaboratories?;47
5.1.1;5.1 Ornette Coleman’s Melodic Spaces in Free Jazz;50
5.1.2;5.2 John Coltrane’s Harmonic Spaces in Ascension;54
5.2;6 The Innards of Time;57
5.2.1;6.1 Cecil Taylor: Unit Structures;58
5.2.2;6.2 Trance Spaces: Archie Shepp’s The Magic of Ju-Ju;65
5.2.3;6.3 Dervish Dances: Albert Ayler’s Love Cry;66
6;Part IV Gestural Creativity;69
6.1;7 Gestures: From Philosophy to Thought Experiments;70
6.1.1;7.1 Gestures in Music Philosophy, Performance, and Music Theory;71
6.1.2;7.2 The French Approach to Gestures;76
6.1.3;7.3 Châtelet’s Gestural Thought Experiments;79
6.2;8 Geometry of Gestures;84
6.2.1;8.1 Gestures Are Diagrams of Curves;84
6.2.2;8.2 Definition of Gestures and Hypergestures;86
6.2.3;8.3 Hypergestures, Cognitive Science, and Cavaillès;90
6.3;9 The Escher Theorem and Gestural Creativity in Free Jazz;93
6.3.1;9.1 The Escher Theorem;94
6.3.2;9.2 Group Creativity and Categories of Hypergestures;96
6.3.3;9.3 Rebecca Lazier’s Vanish: Lawvere, Escher, Schoenberg;98
6.3.4;9.4 Musical Poetology;101
7;Part V What Group Flow Generates;103
7.1;10 What Is Flow?;104
7.1.1;10.1 Mihaly Csikszentmihalyi’s Flow Concept;105
7.1.2;10.2 Keith Sawyer’s Group Flow;106
7.1.3;10.3 Miles Davis’ Bitches Brew;108
7.1.4;10.4 Gestures in Geisser’s and Mazzola’s Chronotomy;109
7.1.5;10.5 What Does Group Flow Produce?;112
7.2;11 The Symbolic Axis of Distributed Identity;114
7.2.1;11.1 Groups from Gestures: The Paradox of Algebraic Topology;115
7.2.2;11.2 The Fourier Ballet;119
7.2.3;11.3 Passion;121
7.2.4;11.4 Archie Shepp’s Coral Rock;122
8;Part VI Epilogue;124
8.1;12 From Pre- to Postproduction: The Infinite Listening;125
8.2;13 Global Strategies for Free Jazz;130
8.3;14 The Future of Free Jazz;133
9;References;136