Friedrich Nietzsche e John Coltrane: a manifestação das pulsões Apolíneo e Dionisíaco na improvisação musical do Jazz

Abstract

This research aims to show, through the analysis discussed in The Birth of Tragedy, that musical improvisation practiced in jazz instrumental music is likely to be thought of as the result of the pairing of Apollonian and Dionysian impulses, pointing to a zone of convergence between Nietzsche and Jazz. Friedrich Nietzsche is the main author to be researched from his work The Birth of Tragedy. It inaugurates a vast legacy that will last in the following decades of the 19th century, marking the beginning of an unprecedented philosophizing and the starting point of his philosophy. Therefore, the study and research to be presented in this dissertation were the results of reflections around the first published work of the German philosopher. However, in addition to The Birth of Tragedy, other works by Nietzsche were included in the bibliographic reference of this work, among them: The Preparatory Writings: The Greek Musical Drama, Socrates and Tragedy and The Dionysian Vision of the World; Richard Wagner in Bayreuth; Ecce Homo; The Gaia Science; Human, All Too Human; Twilight of the Idols; The case of Wagner and Nietzsche against Wagner, in addition to the notes and letters in which Nietzsche deals with music, will also be consulted on dissertation works by researchers who have dedicated themselves to the philosophical study of the relationship between Nietzsche's philosophy and the song. Therefore, we intend to present an analysis of one of the most important jazz works in jazz historiography - A Love Supreme, recorded in 1964 by John Coltrane, with the purpose of being involved in this research to describe the relationship between the generative impulses of art, for, from the relationship described, it is possible to observe a convergence between Nietzsche's thinking about art and the artist of ancient Greek tragedy with John Coltrane and his musical creative process. Thus, in addition to Friedrich Nietzsche, as an interlocutor in the study and philosophical reflection on music, it is important to show a historical overview of saxophonist John Coltrane, known worldwide in the 60s of the 20th century and of great influence on the generation of jazz musicians that came later and for its influence on the structuring of musical improvisation. The methodology to be used in this research is an exploratory approach, as it seeks to approach the identified phenomenon: the relationship between the philosophical thought approached by Friedrich Nietzsche in the book The Birth of Tragedy and Musical Improvisation applied to jazz instrumental music, leading to know more about it and, in this way, contribute to the development of concepts and ideas in the field of philosophy, aesthetics and music.