Pynchon & Jazz

[prozak at anus.com]

> Jazz is probably responsible for the revival of the art of improvisation 
> in Western music, an art which had been “forgotten” after Beethoven. But 
> before, and including, Beethoven, improvisation was very common and in 
> many cases expected. A church organist, for example, wasn’t considered 
> any good unless he could improvise. Bach and Mozart were famous for 
> their ability to improvise. In all Baroque da capo arias (including 
> Bach’s), the soloist was expected to use improvised adornments on the 
> basic melody. 

The tradition seemed to be kept alive in classical guitar, at least.

> I know it’s not the same as free improvisation, but, since 
> the Renaissance, Western music had always been “vertical”, i.e. more 
> interested in harmony. Eastern music, however, like some types of jazz, 
> was (and still is) more “horizontal”, more interested in melody. After 
> all, it is mostly modal and monophonic, as can be seen plainly in the 
> music of the Mediterranean, the Middle East and India. And in Eastern 
> music a good player (or singer) is determined by his ability to 
> improvise and produce interesting melodic phrases or ornaments in the 
> process. I think that especially the musicians in India have taken this 
> art to excellence, each improvising after the other (or even “under” the 
> other) within the same mode.
> 
> Oh, and Pynchon is of course well into jazz, but also very interested in 
> classical music and rock.

Interesting interpretation, although it seems to me that Western 
classical music is predominantly melodic, although it insists on 
defined harmonic structures (much like Western poetry of the older 
types).

> >….jazz ultimately plays a minor role in the imaginative logic of
> >Pynchon's texts. 
> >
> Yes. Little things here and there, making up a huge web.

Anything will serve (as a metaphor).

Especially music, which is a great metaphor for writing.

-- 
Backup Rider of the Apocalypse
www.anus.com/metal/
DEATH AND BLACK METAL