The Form of Life of Sanctity in Music Beyond Hagiography: The Case of John Coltrane and His “Ascension”

Abstract The paper investigates the cultural unit of “sanctity” in light notion “form life”, order to show how jazz master John Coltrane (1926–1967) pursued sanctity as a regulative model with regards both personhood and musicianship, so translate his existential quest into music. Firstly, briefly summarizes: what we mean today by (focusing on Catholicism distinguishing between traditional view contemporary, post-Conciliar one); are relationships interweaving music (the latter mainly providing former imagery narrative—e.g. hagiographic—model); form life—a ( Lebensform ) brought philosophical discourse Ludwig Wittgenstein—in semiotic terms (Jacques Fontanille) why can apply it sanctity. Afterwards, addresses Coltrane’s musical career, relying hagiographic built around him (e.g. Scheinfeld’s documentary Chasing Trane , 2016) discography, special focus three game-changers among albums: Giant Steps (1960), A Love Supreme (1965), Ascension (1967, published posthumously). headed twofold conversion: he abandoned native Methodist faith embrace personal syncretic pantheism; language avant-garde technique modal composition (in line George Russell, Bill Evans, Miles Davis) once despised free (Ornette Coleman). Not only wanted be saint, not was regarded such extent that “St. William Church” established San Francisco (by 1969, official recognition 1982), but tried one through music; namely, conveying spiritual journey via sonic means: proposing catechism ), mass own mystique ). Consistently process selection any saintly figure—and mystiques especially—undergoes canonized stricto sensu, some tokens within body work were included canon (both religious kind), while later works left out due their radicalism.