LanguageTerm (authority = ISO 639-3:2007); (type = text)
English
Abstract (type = abstract)
Ornette Coleman stands as one of the most significant innovators in jazz history. The purpose of my thesis is to show where his innovations came from, how his music functions, and how it impacted other innovators around him. I also delved into the more controversial aspects of his music. At the core of his process was a very personal philosophical and musical theory he invented which he called Harmolodics. Harmolodics was derived from the music of Charlie Parker and Coleman’s need to challenge conventional Western music theory in pursuit of providing direct links between music, nature, and humanity. To build a foundation I research Coleman’s development prior to his famous debut at the Five Spot, focusing on evidence of a direct connection to Charlie Parker. I examine his use of instruments he played other than his primary use of the alto saxophone. His relationships with the piano, guitar, and the musicians that played them are then examined. I then research his use of the bass and drums, and the musicians that played them, so vital to his music. I follow with documentation of the string quartets, woodwind ensembles, and symphonic work, much of which was never recorded. I conclude with an examination of Coleman’s impact on other masters and a discussion of Harmolodics itself, followed by musical analysis.
Having studied with Coleman personally, I hope to bring some clarity to the actual function of his music. I have interviewed Dave Bryant, Denardo Coleman, and Kenny Wessel. In addition, for five years, I was in the band of guitarist Bern Nix (1947-2017) who played with Coleman from 1975-1987. Though a formal interview with Nix was scheduled before his death in 2017, I had discussed Coleman with Nix many times. My musical analysis includes investigation of Coleman’s composition titled “Kathelin Gray,” and in Section 1 part 3, my analysis of his improvisation on a Charlie Parker piece titled “Klactoveedsedstene.” I hope to show that Coleman’s music, while radical at the time, was steeped in a unique logic with the goal of opening doors to deeper levels of human expression, inside the context of seeking a deeper understanding of humanity overall
Subject (authority = RUETD)
Topic
Jazz History and Research
Subject (authority = LCSH)
Topic
Improvisation (Music)
Subject (authority = LCSH)
Topic
Jazz
Subject (authority = local)
Topic
Harmolodics
RelatedItem (type = host)
TitleInfo
Title
Rutgers University Electronic Theses and Dissertations
Identifier (type = RULIB)
ETD
Identifier
ETD_9865
PhysicalDescription
Form (authority = gmd)
InternetMediaType
application/pdf
InternetMediaType
text/xml
Extent
1 online resource (iv, 281 pages) : music
Note (type = degree)
M.A.
Note (type = bibliography)
Includes bibliographical references
Subject
Name (authority = LCNAF)
NamePart (type = personal)
Coleman, Ornette
Subject
Name (authority = LCNAF)
NamePart (type = personal)
Parker, Charlie, 1920-1955
RelatedItem (type = host)
TitleInfo
Title
Graduate School - Newark Electronic Theses and Dissertations
Identifier (type = local)
rucore10002600001
Location
PhysicalLocation (authority = marcorg); (displayLabel = Rutgers, The State University of New Jersey)
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