Mahavishnu Orchestra’s “Celestial Terrestrial Commuters” (1973), the theme of which is transcribed in full score by the author, is viewed in historical and stylistic perspective as one of the most important works of European jazz-rock. The analysis reveals such an important trait of the European culture of jazz-rock, with the freer use of African-American’s music materials. Proof of this is the blues form’s treatment, here with 11 “defective” bars, and its rendition through modal structures and metric models inspired by the Indian culture. The results of the analytical work move the discussion on issues of inter-semiotic transpositions , in the comparison between the transcription of the author and McLaughlin’s score. This perspective does problematize the transcription of jazz and rock and, consequently, raises issues of authorship and identity: the piece “Opus I” exemplifies a case study of the contradictions faced by the copyright criteria when not aware of “audiotactile” aesthetic.

“Celestial Terrestrial Commuters" della Mahavishnu Orchestra. Analisi della creatività audiotattile e alcune questioni di autorialità

CAPORALETTI, VINCENZO
2013-01-01

Abstract

Mahavishnu Orchestra’s “Celestial Terrestrial Commuters” (1973), the theme of which is transcribed in full score by the author, is viewed in historical and stylistic perspective as one of the most important works of European jazz-rock. The analysis reveals such an important trait of the European culture of jazz-rock, with the freer use of African-American’s music materials. Proof of this is the blues form’s treatment, here with 11 “defective” bars, and its rendition through modal structures and metric models inspired by the Indian culture. The results of the analytical work move the discussion on issues of inter-semiotic transpositions , in the comparison between the transcription of the author and McLaughlin’s score. This perspective does problematize the transcription of jazz and rock and, consequently, raises issues of authorship and identity: the piece “Opus I” exemplifies a case study of the contradictions faced by the copyright criteria when not aware of “audiotactile” aesthetic.
2013
Internazionale
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11393/147415
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