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Charlie Haden is one of the most important musicians in the history of jazz. Both as a double bassist and composer, he innovated the musical language of the jazz and free jazz scene from the 1960s onward. His particular sound and his original vision of music have enabled him to play with the greatest musicians in the history of jazz, making himself always recognizable, even in different musical contexts. His political activism led him to clash with regimes all over the world, even going so far as to be imprisoned in Portugal in 1971. This article will analyze several performances of Haden’s compositions and fragments of solos, showing recurring elements and stylistic differences dictated by the ensemble or the peculiarities of the individual artists on the recordings, as well as linking the genesis of the pieces (as with Song for Che) to Haden’s own extra-musical ideas., Charlie Haden è stato uno dei più importanti musicisti nella storia del jazz. Sia nel ruolo di contrabbassista che in quello di compositore ha saputo innovare il linguaggio musicale della scena jazz e free jazz dagli anni ’60 in avanti. Il suo particolare suono e la sua originale visione della musica gli hanno permesso di suonare con i più grandi nomi della storia del jazz, rendendosi sempre riconoscibile anche in contesti musicalmente differenti tra loro. Il suo attivismo politico lo ha portato a scontrarsi con regimi in tutto il mondo, arrivando ad essere incarcerato in Portogallo nel 1971. Nel presente articolo, si analizzeranno diverse esecuzioni di sue composizioni, frammenti di soli dello stesso Haden e di altri musicisti, mettendo in luce gli elementi ricorrenti e le differenze stilistiche dettate dall’organico o dalle peculiarità dei singoli artisti presenti nelle registrazioni, oltre a collegare le genesi dei brani (come per Song for Che) alle idee extra musicali dello stesso Haden.

A significant part of the work of orchestras that interpret composed music is aimed at optimizing the coordination of activities between different musicians by means of time-consuming rehearsals, in order to reduce the degree of contingency of their performances to a minimum and thus to remain loyal to the musical composition, whose score has already been largely defined. However, in the case of free jazz we are confronted with a phenomenon, which counteracts this pursuit of certainty because it deliberately produces uncertainty, thereby stimulating the musicians’ artistic productivity. By looking at the example of free jazz improvisation, I wish to tie two central topics in sociology into the following reflections: the structure of human action and the mutual coordination of action. Using these topics I will analyze certain aspects with regard to the contingency within a specific type of human action – improvising – and with regard to the related interactions. These aspects have received little attention in the empirical research until now., kunsttexte.de - Journal für Kunst- und Bildgeschichte, Nr. 2 (2012): Kunsttexte

Durant les deux d��cennies qui ont suivi la Seconde Guerre mondiale, et m��me au-del��, un nombre non n��gligeable de jazzmen noirs am��ricains, quelques-uns parmi les plus notoires, ont abjur�� la religion protestante pour devenir musulmans, jusqu����� modifier parfois tout ou partie de leur nom. Quels facteurs ont pu provoquer pareilles apostasies, et ont-elles entra��n�� des changements notables dans leur musique ? Tel est le propos de cet article.

This paper analyzes composer Aaron Cassidy’s 2014-2016 ensemble work The wreck of former boundaries, focusing on Cassidy’s compositional approach to sonically simulating interactive modes and sonic ideals featured prominently in mid-20th century recordings of free jazz artists such as Albert Ayler (Bells [1965]) and John Coltrane (Ascension [1965]). Because these musical conventions can be heard as socio-political simulacra in and of themselves, I argue that Wreck’s sonic simulations dissimulate the anti-hegemonic implications of the sound of free jazz, depicting spontaneous, hetero-original confrontations with socio-political constraint as symbolic and insubstantial. In my conclusion I argue that while an apparitional circulation of free jazz simulacra seems to de-politicize free jazz musical conventions, Wreck can be understood more precisely as critically analyzing the history of revolution. Heard through the interpretive lens of a broader history of hegemonic improvisations that absorb and displace open expressions of political defiance, Wreck appears to pessimistically reimagine free jazz as a novel form of symbolic, musical constraint.

Kritika albuma "Compression – Decompression" free jazz sastava Abstract Construction Collective.

El artículo comenta un proyecto de film basado en una idea original de Piglia, en el que éste participó junto con músicos, directores de cine y amigos después de su regreso definitivo a Buenos Aires. La película, que quedo finalmente inconclusa, tenía dos ejes temáticos: el jazz en la Argentina de los años sesenta, y los cruces entre free jazz, literatura e improvisación. Se preveía una exploración de los recuerdos de músicos míticos del jazz y el tango argentinos, así como la memoria musical y porteña de Piglia. El texto evoca las etapas del trabajo, incluye fragmentos del guion cinematográfico y remite al lector a grabaciones de algunos temas musicales. L’article rend compte d’un projet de film basé sur une idée originale de Piglia, qui participa dans sa réalisation à côté de musiciens, metteurs en scène de cinéma et quelques amis dans la période de son retour définitif à Buenos Aires. Deux axes thématiques parcouraient le film, resté finalement inachevé: l’histoire du jazz dans l’Argentine des années soixante, et les croisements entre free jazz, littérature et improvisation. Il était prévu d’évoquer les souvenirs de certains musiciens mythiques du jazz et du tango argentins, ainsi que la mémoire musicale portègne de Piglia. L’article commente les étapes du travail, inclut des fragments du scénario et renvoie le lecteur vers des thèmes musicaux enregistrés. The article deals with a movie project based on a Piglia’s original idea. He himself was participating in it, together with musicians, movie directors and friends, after his definitive comeback to Buenos Aires. The movie was finally uncompleted. Two topics characterize the project: Argentine jazz history of the sixties and the intersections between free-jazz, literature and improvisation. It was planned to recall memories of mythic Argentinian jazzmen and tango performers as well as the Buenos Aires musical memory of Piglia. The article comments the different work stages, includes fragments of the scenario and suggests the reader to hear some recordings of musical themes.

Researchers interested in the musical practice of free improvisation have historically prioritised studies of improvisatory process at both the individual or group level. In the realm of jazz studies, discussions of group interactivity have long pointed to the role friendship plays in facilitating these processes (Berliner, 1994; Monson, 1997; Jackson, 2012) and recent qualitative studies of group decision making and interaction in jazz have demonstrated that the shared understanding embedded within relationships can help facilitate open environments ideal for free improvisation (Canonne and Aucouturier, 2015; Wilson and Macdonald, 2017). Yet parallel research into group creativity outside the jazz context has put forth an intriguing alternate idea – the notion that anonymity amongst group participants may also lead to openness during the collaborative process (Bryan-Kinns, Healey and Leach, 2007). This thesis unpacks the experiences of four Australian free music practitioners in terms of friendship and anonymity in an attempt to flesh out a spectrum of optimal conditions that might underpin successful free music exchanges. In doing so, it lays open potential areas of future research in terms of delineating how a range of different sorts of relationships might impact improvised group creativity.

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.

In the following article, I will attempt to outline a new reading methodology for Beat fiction, based on some of the principles of bop aesthetics. This reading understands fiction—especially Beat fiction—as an aural art, as opposed to merely a textual phenomenon (and so considers fiction in much the same way that poetry and music are often considered). Jack Kerouac composed his novel Visions of Gerard in 1956 (released in 1963), the same year Charles Mingus released his classic album Pithecanthropus Erectus. I contend that by reading Kerouac’s novel in terms of Mingus’s methods of composition as recorded on that album, we can more clearly hear the influence of jazz music on Kerouac’s prose; as such, we can better understand the means by which jazz music became important as a compositional method and not just as a theme for Kerouac’s novels. Further, becoming more attuned to the means by which Kerouac composed his fiction as an aural soundscape—how he was sensitive not just to the words themselves but to the sounds that comprise those words and their relationships—we can better appreciate the various ways that Kerouac imbued his novels with aural qualities that emphasized the ideas and emotions raised and/or engaged by the narratives.

Somatic, musical and augural contexts of rhetoric Rhetoric is considering from the way of performance (gr. hipokrizis, lat. actio), called by the Cicero “the body language”. There will be a point of departure in all kinds of somatic obstacles that limit the orator, and also the voices of the background that make oration harder. Among the natural voices there is a specific case of animal sounds, in particular birds’ melodies which were intensively listened by ancient augurs and poets. There is also returning question of birds singing and human voice, especially in the age of ecology and the new media, and in context of cinema music and literature. From the perspective of the zoophilology a very special case is the voice of marsh warbler that can be associated with jazz improvisation and the sampling. In the conclusion author reveals the rhetoric community between different discourses that were inspired by the art of improvisation – the free jazz (Coleman), deconstruction (Derrida) and birds language (marsh warbler).

Dans le domaine musical, l'époque contemporaine se caractérise par la dissémination de la scene, la démultiplication des genres musicaux et l’omniprésence des techniques audionumériques dans les processus de fabrication et de diffusion des enregistrements, reproductibles à l'infini par un nombre toujours croissant d'utilisateurs de matériel informatique. Nous choisissons d'extraire d'un tel contexte les pratiques improvisées d'inspiration libre usant d'une lutherie électronique. Comment les artistes parviennent-ils à se repérer dans un environnement aussi fluctuant et problématique, puis à transmettre leur savoir musical ? Pour sortir de la compilation des données temporellement circonscrites, nous tâcherons de comprendre ce qui est en train de se passer au sein des pratiques improvisées contemporaines dans une localité précise. Le cadre théorique, hérité du jazz, montrera qu'il existe au XXeme siecle un lien entre l'enregistrement sonore et l'improvisation à travers trois types d'instrumentation : mécanique, analogique et numérique. À l'aide de deux exemples historiques, nous essayerons de comprendre comment un improvisateur apprend à jouer du clavier tout en étant confronté, dans le même temps, à un dispositif technique de production et de reproduction sonore. La méthode introduira ensuite l'enquête de terrain effectuée à Montréal en 2013-2014 dans l'atelier de six musiciens. Les monographies mettront en évidence les filiations et la mémoire sonore de chaque artiste, constitutives d'un imaginaire musical l'autorisant à performer le moment venu. Les pratiques improvisées étudiées ne représentent aucun genre ni aucune tradition musicale identifiable, car elles s'inspirent indifféremment des musiques expérimentales, de l'électroacoustique, de l'improvisation libre, du free jazz et du rock. En revanche, elles demeurent indissociables du contexte qui les a vu naître, celui de la musique actuelle au Québec et de la topographie montréalaise. Grâce au concept d'« audiotactilité », ces pratiques seront analysées du point de vue des usages que les artistes font des circuits électroniques, c'est-à-dire le rapport physique à la matérialité des outils et des sons produits par le biais de l'ouïe et de la fonction haptique. L'improvisation procède-t-elle d'une construction réfléchie, telle une architecture ou une ingénierie, et l'électronique influence-t-il l'élaboration du discours improvisé ? Existe-il une structure sous-jacente dans l'élaboration d'un discours improvisé utilisant des outils électroniques en adéquation avec un processus musical vivant ? Par le réemploi de morceaux préexistants et par la pratique de l’échantillonnage, l'improvisation peut être pensée comme un processus hypertextuel. Ainsi, nous verrons si les techniques numériques se placent dans la continuité de l'enregistrement mécanique et analogique ou si elles constituent un élément de rupture., In the field of music, our contemporary age is characterised by a scattered scene, an increasing number of musical genres and ubiquitous audio-digital techniques used in the process of production as well as in the broadcasting of recordings, themselves infinitely reproducible by an ever-growing number of computer-users. In the midst of this constellation we have chosen to highlight the art of free improvisation using electronic stringed-instruments. How do artists manage to find their way in such a fluctuating and problematical environment, and then convey their musical know-how? Rather than compiling data limited in time, we will attempt to understand what is being happening among contemporary improvisation in a specific context. The theoretical framework, inherited from jazz, points to a connection in the 20th century between recording and improvisation and operates on three levels: mechanical, analogue and digital. With the aid of two historical examples we try to understand how an improviser learns to play the keyboard while being at the same time confronted with a technical device of sound production and reproduction. The methodology / approach then presents a field investigation carried out in Montreal in 2013-2014 during a workshop involving six musicians. The monographs highlight the origins and sound memory of each artist which make up his musical individuality and allow him to perform when required. The improvised sessions under investigation do not represent a genre or identifiable musical tradition, as they derive indiscriminately from experimental music, electro-acoustics, free improvisation, free jazz and rock. However they cannot be dissociated from the context in which they emerged, i.e. the modern music scene in Quebec and the wider Montreal environment. Thanks to the concept of "audio-tactility", these practices are analysed focussing on how the artists use electronic circuits, i.e. what is the connexion between the material aspect of the devices and the sounds produced by listening and haptics. Does the improvisation stem from a mental construct, a building plan or engineered map and do the electronics have a bearing on the elaboration of the improvised discourse? Is there an underlying structure in the elaboration of an improvised discourse using electronic devices in combination with a live musical process? By feeding preexisting pieces through a sampler, improvisation can be thought of as a hypertext process. In this way we can observe whether digital techniques are an extension of mechanical and analogue recording techniques or whether indeed they break with them., Les images n'ayant pas reçu d'autorisation ont été retirées de la version déposée sur papyrus. Une version complète a été déposée sur le site de la Faculté de Musique.

Founded in 1967, the Amsterdam-based improvising collective the Instant Composers Pool is one of the longest consistently performing groups in improvised music. This thesis forms an ethnography and musicological study of the ICP Orchestra, which originated when the "pool" developed a more coherent line-up around 1980. With a background in experimental music as well as free jazz, their performance practice differs in many respects from the practices of American forms of jazz. Whereas most accounts of improvisation emphasise orality and creative interaction in opposition to the performance of composed music, 'instant composition' defines improvisation precisely in terms of compositional thinking. Moreover, founding member and orchestra leader Misha Mengelberg composed a very diverse repertoire for the group which draws on styles from Duke Ellington to John Cage and uses various forms of compositional and notational techniques to explore the different improvisatory possibilities that they afford, thus blurring the distinction between improvisation and composition both in name and in practice. Apart from a detailed historical and ethnographic description of a group that is central to a genre that has been underrepresented in music-historical research, this thesis investigates the repertoire of the ICP and its use as an opportunity to reconsider the relation between musical text and performance. Drawing on my observations and interviews with the musicians, and connecting these to theories of material culture and science and technology studies, it develops a concept of compositions as animated and animating objects in performance, tools and materials that participate in the creative interactive process of improvised performance rather than textual representations of 'the music itself'. I substantiate this theory with detailed descriptions of ICP performances recorded during fieldwork. This contributes to a rethinking of musical notation and simultaneously brings new insights into improvisation as a creative practice., This doctoral research project was sponsored by the Arts and Humanities Research Council, the Cambridge Home and EU Scholarship Scheme, and Corpus Christi College. Additional grants were awarded by the Music & Letters Trust, the Society for Music Analysis, and the William Barclay Squire Fund.

When musicians improvise freely together—not following any sort of script, predetermined harmonic structure, or "referent"—to what extent do they understand what they are doing in the same way as each other? And to what extent is their understanding privileged relative to outside listeners with similar levels of performing experience in free improvisation? In this exploratory case study, a saxophonist and a pianist of international renown who knew each other’s work but who had never performed together before were recorded while improvising freely for 40 minutes. Immediately afterwards the performers were interviewed separately about the just-completed improvisation, first from memory and then while listening to two five-minute excerpts of the recording in order to prompt specific and detailed commentary. Two commenting listeners from the same performance community (a saxophonist and drummer) listened to, and were interviewed about, these excerpts. Some months later, all four participants rated the extent to which they endorsed 302 statements that had been extracted from the four interviews and anonymized. The findings demonstrate that these free jazz improvisers characterized the improvisation quite differently, selecting different moments to comment about and with little overlap in the content of their characterizations. The performers were not more likely to endorse statements by their performing partner than by a commenting listener from the same performance community, and their patterns of agreement with each other (endorsing or dissenting with statements) across multiple ratings—their interrater reliability as measured with Cohen's kappa—was only moderate, and not consistently higher than their agreement with the commenting listeners. These performers were more likely to endorse statements about performers' thoughts and actions (more than statements about the music itself), and evaluatively positive (more than negative) statements. But these kinds of statements were polarizing; the performers were more likely to agree with each other in their ratings of statements about the music itself and negative statements. As in Schober and Spiro (2014), the evidence supports a view that fully shared understanding is not needed for joint improvisation by professional musicians in this genre and that performing partners can agree with an outside listener more than with each other.

Outside the Empire is an investigation of the improvised music community in Toronto from 1960 to 1985. Chapter One discusses how, beginning in the 1950s, the modernist sensibility of Toronto's Painters Eleven collective inspired the formation of the Artists' Jazz Band (AJB) in 1962. Chapter Two hinges upon bassist/pianist Stuart Broomer’s description of Toronto as "a mediated city," and highlights the problems of sustaining an experimental musical career in English Canada’s music and media centre. Chapter Three discusses Coda Magazine. By framing jazz as a music of innovation and of social resistance, Coda introduced a level of critical discourse that sharply distinguished the magazine and its “scene” from both the typically conservative Toronto jazz community, and the apolitically modernist scene represented by CCMC and The Music Gallery. Chapter Four discusses how the improvising group CCMC founded the Music Gallery, and in doing so reified a specifically nationalized and racialized discourse around its origins. Chapter Five relates the author's experience of learning to improvise to George Lipsitz's definition of community learning via an "alternative academy," to George E. Lewis' theory of "sociodidacticism," and to Tricia Rose's writings on "flow, layering, and rupture." Chapter Six positions the critical and musical work of Bill Smith between two different models of music history: one that treats musical development as community-based, and another that attributes innovations to a few exceptional individuals. Chapter Seven addresses women improvisers in the Toronto community's early years. The author uses Michel de Certeau's definitions of "spaces" versus "places," and "strategy" versus "tactics." Chapter Eight, the conclusion, suggests possible future areas for research into a Canadian improvising community in which the motivations of its subjects, the extent of its influence, and the history of its rich interdisciplinary infrastructure have been subject to distortion, appropriation, and erasure. Appendices include interviews with instrumentalists-composers Gayle Young and Diane Roblin, as well as an interview with the late saxophonist, and frequent AJB collaborator, Kenny Baldwin. There is also a discography of Toronto improvisation, and a list of Bill Smith Ensemble performances from the period under discussion.

[EN] This article is a preliminary research proposing us to take a trip through racism and art in the historical context of New York Free Jazz; ana-lysing it will allow us to understand the defin-ing characteristics and activist goals of the art shown in the record covers.After a brief historical introduction, dealing with the topic of racism and jazz music, the au-thor focuses her interest on a selection of record covers and artists, with the purpose of starting an analysis of the graphics and iconography that defined the music industry of that period.Music and art is an excuse to study the racial problem that affected artists. We will see how their works evolved in a social-cultural context of segregation and strife for change, experi-menting with liberating their artistic process in favour of social commitment, [ES] Este artículo trata de una investigación preliminar que propone un viaje por el racismo y el arte en el marco histórico del free jazz neoyorquino de los años setenta, cuyo análisis nos acercará al entendimiento de sus características definitorias y sus propósitos activistas, a través de las cubiertas de discos. Tras una breve introducción histórica, donde se trata el tema del racismo y la música jazz, la autora centra su objeto de estudio en una selección de cubiertas de discos y artistas plásticos, a través de los cuales comienza un análisis de la gráfica e iconografía que fue definiendo la industria musical del momento. Música y plástica como premisas para un acercamiento a la problemática racial que afectó a creativos cuya obra iría evolucionando en un marco sociocultural de segregación y manifestación por el cambio; experimentando y liberando sus procesos artísticos a favor del compromiso social.

Denne oppgåva er eit resultat av eit masterstudium i musikkvitenskap ved Universitet i Oslo. Oppgåva tek føre seg ulike problematikkar som er knytt til friimprovisasjonsfeltet, og ser på korleis vi kan forstå og behandle denne musikkpraksisen. Oppgåva baserer seg på intervju og analyse av Maja Ratkje, Stian Westerhus og Lasse Marhaug og syner å gi eit utsnitt av dette fagfeltet og kunnskapspraksisen.

Many scholars have attempted to make jazz relevant to an organizational audience. We seek to extend this literature by considering a more radical version of improvisation associated with the jazz musician Ornette Coleman. Inspired by an encounter between Coleman and the philosopher Jacques Derrida, we juxtapose the radical collective responsibility associated with Coleman’s Free jazz improvisation and Derridean deconstruction. We especially emphasize a phrase used by Derrida, “a certain experience of the impossible,” as an expression for a particular experience of doing management. The overall contribution of the article is to explore the possibility of responding to issues within organizations in more participative and improvisational ways, without losing an appreciation of the inherent impossibility (perhaps even absurdity) of the managerial condition.

Ce mémoire porte sur l’improvisation libre, pratique musicale apparue au cours de la seconde moitié du vingtième siècle en musique savante occidentale et en parallèle avec le courant du free jazz. Évoquée fréquemment par l’emploi du terme de « musiques improvisées », dans un premier temps, nous abordons le rapport entre cette appellation et la musique qui s’y rattache à travers son emploi chez certains auteurs en musicologie dans l’optique d’en montrer les différentes acceptions. Dans un second temps, nous réfléchissons sur la dualité des origines de la pratique d’improvisation libre afin d’expliquer en quoi celle-ci peut causer une certaine confusion lorsqu’elle est abordée en musicologie. Cette étude se concentre ensuite sur les aspects de pluralisme esthétique et de multiculturalisme qu’on peut rencontrer en improvisation libre. Nous explorons plusieurs explications quant aux fondements de la pratique musicale à partir d’une analyse de ses origines culturelles et historiques. Suite à cela est abordée la question de transculturation, un concept qui a été évoqué à plusieurs reprises ces quinze dernières années concernant les musiques improvisées, sans jamais avoir été appliqué de façon très spécifique à ces dernières. Le mémoire est complété par une analyse de l’improvisation The Usual Turmoil (1997) du tromboniste George E. Lewis et de la kotoïste Myia Masaoka, qui a pour objectif de mettre en application certains éléments de la réflexion théorique précédemment élaborée et de trouver les prémisses d’une méthode propre à l’analyse de l’improvisation libre., This memoire treat about a specific musical practice which is free improvisation, and which appeared during the second half of the twentieth century in western art music and with the free jazz wave/trend. Frequently referred by the term « improvised music », we will first go through some definitions from authors in musicology to show the different underlying problematic of the term. We will return to the duality of the origins of free improvisation practice in order to explain why such duality caused confusion in musicology studies. We will then look at some specific aspects concerning multicultural and esthetic pluralism in free improvisation. We will try to bring forth some explanations from our analysis of the cultural roots of free improvisation. Furthermore, we will address the question of transculturation, a recent concept frequently used during the last fifteen years in improvised music studies and which had never been deeply studied. Finally, with the analysis of The Usual turmoil, a duet improvisation by the trombonist George E. Lewis and koto player Miya Masaoka, we will be able to consider free improvisation from an analytic point of view., La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

W artykule poruszona zostaje kwestia połączenia jazzu i wolności w przypadku polskiej muzyki jazzowej. Problem jest poruszany na tle środowiskowej dyskusju pomiędzy muzykami zajmującymi się mainstreamem a jazzmanami grającymi free jazz. W kontekście wypowiedzi przedstawicieli maintreamu zostaje rozważona kwestia związana z wolnością, rozumianą jako zdolność do "bycia twórczym". Pojawiają się bowiem w związku z powyższym pytania: czy wolność jest cechą charakterystyczną dla polskiego jazzu? Czy polscy jazzmani, zajmujący się improwizacją tej wolności potrzebują, czy preferują zgodność ze stylistycznymi, konserwatywnymi zasadami, czy też - spontaniczne nowatorstwo wychodzące poza ramy gatunków? Artykuł jest refleksją filozoficzną, która może być punktem wyjścia do szerszych badań. In article is addressed an issue of connection of freedom and jazz music in Poland. The problem is touched on the background of disscussion among jazz musicians involved in the mainstream and jazzmen who played free jazz. In the context of the statements of representatives of maintream is considered an issue related to freedom, understood as the ability to "be creative". There are few questions in fact in the light of the above: whether freedom is a characteristic of Polish jazz? Are Polish jazz musicians, need the freedom? Are they prefer compatibility with the stylistic, conservative principles - or, spontaneous innovation beyond the confines of the species? The article is a philosophical reflection, which can be a starting point for broader research. Rafał Mazur

Timbre is crucial to the generation of musical affect and meaning. But despite its well-acknowledged importance, musicology remains largely "tone deaf"--timbre is in the peculiar position of being both vital to ordinary experience and invisible to analysis. In approaching timbre through the lens of embodied cognition, this dissertation aims to loosen the analytical impasse by advancing a flexible and dynamic model for understanding the material and affective dimensions of sound. I explore how timbral reactions and appraisals work in connection with the embodied mind to shape musical experience, particularly in the context of American popular music and jazz. Methodologically situated between the "two cultures" of the humanities and sciences--and drawing on results from original empirical studies using behavioral psychology, cognitive linguistic, and neuroimaging methods--I claim that timbre perception is a motor mimetic process; we covertly mirror the bodily actions implied in the production of timbre when we listen. The larger implication of this finding is that cognition of timbre is a fundamentally social act. The dissertation is concerned, then, with the perceptual, social, and symbolic dynamics of timbre as experienced, and to best exemplify this linkage, I focus on contexts in which "musical" timbres bleed into "noise," both acoustically and epistemologically. As case studies, the dissertation considers musical contexts with visceral, polarized reception histories: the screaming saxophone in mid-1960s free jazz (as exemplified by "late" John Coltrane), and the highly distorted electric guitar and vocal timbres of contemporary extreme heavy metal.

Der Ausgangspunkt des Beitrags ist eine theoretische Zumutung: Soziale Systeme und psychische Systeme sind operational geschlossen und können sich wechselseitig nicht informieren, sondern nur irritieren. Informieren müssen sie sich jeweils selbst, indem sie ihre Selbstreferenz in Anspruch nehmen, um fremdreferentiell ihre Umwelt abzutasten. Psychische Systeme sind prominente Phänomene in der Umwelt sozialer Systeme und umgekehrt soziale Systeme prominente Phänomene in der Umwelt psychischer Systeme. So wird aus der wechselseitigen Irritation rasch, vielleicht zu rasch, eine wechselseitige Faszination. Der Free Jazz unterbricht dieses zu rasche Einvernehmen. Er kommuniziert Störungen, die vom Bewusstsein dann doch wieder fasziniert als Anregungen zu einem rekursiv turbulenten Hören rezipiert werden, die keine andere Umwelt zu bieten hat, aber sehr viel mit der Nervosität zu tun haben, die als Reibungsfläche zwischen Bewusstsein und Gesellschaft deren verlässlichste Verknüpfung ist. Der Beitrag diskutiert die theoretischen Grundlagen für diese Beobachtungen und stellt sie in den Zusammenhang insbesondere der Zeitstrukturen des Free Jazz.

International audience; Un stéréotype coriace imprègne les imaginaires du monde du jazz en France : pendant la période « free », le militantisme politique aurait éclipsé l'esthétique. Cette identification partielle d'une musique pourtant bigarrée fut le produit d'une « collaboration polémique » entre partisans et détracteurs de ce phénomène. L'exemple des interprétations de l'oeuvre du saxophoniste Albert Ayler illustre parfaitement les enjeux de cette nouvelle « bataille du jazz ». L'ancienne génération voyait en lui un nihiliste infantile, dont la médiocrité était absoute par l'idéologie. La critique structuraliste de gauche en fit un avatar du prolétaire révolutionnaire, dont la musique, en « déconstruisant » les conventions du jazz antérieur, devenait subversion des valeurs bourgeoises. En localisant ainsi exclusivement l'origine du « free jazz » du côté des rapports de force entre classes et cultures anta-gonistes, elle détermina les significations qui devaient en découler nécessairement, sans égards pour les intentions explicites des musiciens ou d'autres possibilités d'appropriation. Faire la critique de telles normes, c'est restituer la multiplicité du signe musical et des pratiques d'écoute possibles. Mots-clés : free jazz-critique-structuralisme-signification-autorité-discours-norme Rebel with the wrong cause par Jedediah Sklower * Daniel Caux est décédé samedi 12 juillet 2008. Son rôle dans la diffusion, parmi d'autres, des musiques « free » à partir de la fin des années 1960 en France fut remarquable. Cet article, qui lui doit beaucoup par ses thèmes et ses sources, lui est dédié.

International audience; Un stéréotype coriace imprègne les imaginaires du monde du jazz en France : pendant la période « free », le militantisme politique aurait éclipsé l'esthétique. Cette identification partielle d'une musique pourtant bigarrée fut le produit d'une « collaboration polémique » entre partisans et détracteurs de ce phénomène. L'exemple des interprétations de l'oeuvre du saxophoniste Albert Ayler illustre parfaitement les enjeux de cette nouvelle « bataille du jazz ». L'ancienne génération voyait en lui un nihiliste infantile, dont la médiocrité était absoute par l'idéologie. La critique structuraliste de gauche en fit un avatar du prolétaire révolutionnaire, dont la musique, en « déconstruisant » les conventions du jazz antérieur, devenait subversion des valeurs bourgeoises. En localisant ainsi exclusivement l'origine du « free jazz » du côté des rapports de force entre classes et cultures anta-gonistes, elle détermina les significations qui devaient en découler nécessairement, sans égards pour les intentions explicites des musiciens ou d'autres possibilités d'appropriation. Faire la critique de telles normes, c'est restituer la multiplicité du signe musical et des pratiques d'écoute possibles. Mots-clés : free jazz-critique-structuralisme-signification-autorité-discours-norme Rebel with the wrong cause par Jedediah Sklower * Daniel Caux est décédé samedi 12 juillet 2008. Son rôle dans la diffusion, parmi d'autres, des musiques « free » à partir de la fin des années 1960 en France fut remarquable. Cet article, qui lui doit beaucoup par ses thèmes et ses sources, lui est dédié.

Mémoire de D.E.A. (remanié pour la publication de l'ouvrage de 2006). Sous la direction de Pascal Ory (jury : P. Ory et Ludovic Tournès)Mention très bien.

application/pdf, 紀要論文, Contemporary Japanese novelist Nakagami Kenji (1946-1992) is known to have made repeated allusions to jazz music in essays and interviews. However, his symbolic use of jazz music is, as a rule, limited to his early works. “ Nineteen year old Jacob ”, as one of his later works (published serially from 1978 to 1980), is an exception. This work depicts young people in the time Nakagami himself, as an adolescent, was actually listening to jazz; specifically, from 1960 to the early 1970s. The period̶1968 and the surrounding years̶saw the feverish peak of student activism in Japan. On the international scale, there were a variety of political movements, and the arts were evolving in new directions. “ Nineteen year old Jacob ” can be positioned as Nakagami's attempt, ten years on, to re-examine the actions of the youth of the period, which included the author himself. In this paper, I analyse the novel in the context of jazz music as symbolising 1968 movements, and I discuss Nakagami's treatment of this time period.

"Este Artículo pertenece a la sección Arte, Letras, Espectáculos. "

This review addresses the book 'Free Jazz Communism' (Rab Rab Press), a volume concerning a performance at the 1962 World Youth Festival in Helsinki by the Archie Shepp-Bill Dixon group. The book argues that this hitherto neglected event is a central moment for studies of the relation between jazz and politics during the Cold War Era, combining source texts, interviews, and polemical interventions to make its case. Our review fills in some of the details about the event, and Shepp's political activity during the early 1960s, which are not uncovered in the book. The first half of the review concentrates on our research into the festival, and the second half turns more closely to the book itself, as well as to Shepp's involvement with political causes during this time. Our intention is to use the book as an occasion to stage original research, as well as to analyse the contributions and shortcomings of the book itself.

International audience