By Michael Jarrett
For nearly a century, writers corresponding to Ralph Ellison, Michael Ondaatje, and Ishmael Reed have expressed an affinity for jazz, listening to the tune as a version for writing. Michael Jarrett examines their paintings and the paintings of others who've introduced jazz into language, pushing "interpretation" into the world of "invention."
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Additional resources for Drifting on a Read: Jazz As a Model for Writing (S U N Y Series in American Labor History)
To drop these codes for the "organization of knowledge," writes Ulmer in his elaboration of heuretical methodology, requires "the writer to find an alternative for the logic of classical reasoning, and for the interest of problem solving" (1989a:50). Rapsody (writing with the symbolic code) provides such an alternative. If Balzac's Sarrasine is analogous to classical music, say, Mozart's The Magic Flute, then Barthes's S/Z is analogous to atonal music, say, Boulez's Pli selon pli. By interrupting the two codes, which syntagmatically unfold according to a "logico-temporal order," and emphasizing the semic, cultural, and symbolic codesthe paradigmatic codes that "establish permutable, reversible connections, outside the constraint of time"Barthes produces, out of Sarrasine, a modern, that is to say, a nonvectorized, 43 44 tabular text.
12. Con carita. On the other hand, the possibility of multiple signification (one signifier serving a number of signifieds) would also keep FLP from functioning as a satirical text. ] As Taylor argues, free jazz is not just a negative freedom from traditional ideas of harmony and time, but also the positive freedom to structure music in new ways. He states, "This [music] is not a question of freedom as opposed to non-freedom, but rather a question of recognizing different ideas and expressions of order" (qtd.
Archilochus, the Greek satirist whose iambics drove Neobule and Lycambes to suicide, understood this well. After witnessing a solar eclipse, he wrote: "Henceforth is anything whatsoever to be believed or expected. Let not one of you marvel, nay, though he see the beasts of the field exchange pasture with the dolphins of the deep, and the roaring waves of the sea become dearer than the land to such as loved the hill" (qtd. ] Third, free jazz constantly searches for new song structures. The repertory of bebop, with certain notable exceptions, consisted largely of standard popular songs (the stuff of Tin Pan Alley) or, more properly, the chord changes to those songs.
Drifting on a Read: Jazz As a Model for Writing (S U N Y Series in American Labor History) by Michael Jarrett