Exposition

Jazz in Worship and Worship in Jazz (2021)

Uwe Steinmetz
open exposition

About this exposition

Jazz in Worship and Worship in Jazz The musical language of Liturgical, Sacred, and Spiritual Jazz in a postsecular Age. Abstract The aim of this dissertation is to identify musical elements that contribute to the generation of religious meaning in jazz performance and to explore how religious experience can inspire jazz composition. In this study, the history of jazz, specifically tailored to the aspects of my inquiry is imbricated with relevant theories and musical interventions from my own artistic practice in composition and performance. In addition to artistic research through my own practice as a performer and composer, the transdisciplinary fields of musicology, music theory, neurology, history of religion, and theology provides further critical tiles in the knowledge-mosaic constructed by this study. Using my own artistic practice as my primary research method, my thesis investigates distinct intrinsic and extra-musical elements that help to create a typology of religiously inspired jazz, grounded in historical reference works. Twenty-five of my own compositions following this typology are submitted with this thesis and are analyzed in the three main chapters. The final chapter (Imagine) summarizes conclusions of the main chapters and includes a brief evaluation of the research process. Conclusions from the thesis include (i) defining six distinct ways of expressing religious belief in jazz, (ii) demonstrating that the extrinsic meaning of religiously inspired jazz changes when placed within a liturgical dramaturgy, and (iii) generating new postsecular perspectives on jazz. Another concrete result of this thesis involves revisiting George Russell´s Lydian Chromatic Concept as a basis for my own compositions. The practice-based adaption and exploration of Russell´s theory opens new ways of understanding how his musical philosophy builds a bridge between Western classical sacred music and jazz. Finally, this thesis also raises new areas for further research such as microtonal and twelve-tone tonality in jazz, temporal concepts in jazz composition and improvisation, and the embodiment of Christian faith through music as an extension of the institutional church in society. Keywords: jazz and religion, jazz liturgies, George Russell, Spiritual Jazz, Sacred Jazz, Liturgical Jazz, postsecularity in the arts, twelve-tone tonality in jazz
typeresearch exposition
keywordsjazz religion spirituality
date31/03/2021
published04/05/2021
last modified04/05/2021
statuspublished
affiliationUniversity of Gothenburg
copyrightwww.uwesteinmetz.net
licenseAll rights reserved
languageEnglish
urlhttps://www.researchcatalogue.net/view/1216772/1216773
doihttps://doi.org/10.22501/rc.1216772
published inResearch Catalogue
external linkwww.uwesteinmetz.net


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name1 Kyrie - Intercessory Prayers
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name2 Psalm 90 (instrumental)
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name3 Threefold Kyrie and Gloria Chant
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name4 PSALM 133
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name5 Kenosis Hymnus
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name6 Song of Awareness
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name2019 GOD IS NOW - 201904042©Klaus Mancke Berlin
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nameIn Spirit - Suite of Spiritual Songs II
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nameContemplation_ (Christ lag in Todesbanden)
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name15 Ascent (_Über den Wolken_ Arrangement)
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name14 Scriptural Renarration_ We have seen the true light
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name13 We have seen the true light - Meantone
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name19 Apparition
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nameBalanced Steps
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name21 Gott ist gegenwärtig - PRINT A3 - April 2018
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nameSuite of Spiritual Songs
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nameTord Gustavsen Messe - Musik und Spiritualität_Merge(1)
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