Making Music Modern: New York in the 1920sOxford University Press, 16 nov 2000 - 512 pagine New York City witnessed a dazzling burst of creativity in the 1920s. In this pathbreaking study, Carol J. Oja explores this artistic renaissance from the perspective of composers of classical and modern music, who along with writers, painters, and jazz musicians, were at the heart of early modernism in America. She also illustrates how the aesthetic attitudes and institutional structures from the 1920s left a deep imprint on the arts over the 20th century. Aaron Copland, George Gershwin, Ruth Crawford Seeger, Virgil Thomson, William Grant Still, Edgar Varèse, Henry Cowell, Leo Ornstein, Marion Bauer, George Antheil-these were the leaders of a talented new generation of American composers whose efforts made New York City the center of new music in the country. They founded composer societies--such as the International Composers' Guild, the League of Composers, the Pan American Association, and the Copland-Sessions Concerts--to promote the performance of their music, and they nimbly negotiated cultural boundaries, aiming for recognition in Western Europe as much as at home. They showed exceptional skill at marketing their work. Drawing on extensive archival material--including interviews, correspondence, popular periodicals, and little-known music manuscripts--Oja provides a new perspective on the period and a compelling collective portrait of the figures, puncturing many longstanding myths. American composers active in New York during the 1920s are explored in relation to the "Machine Age" and American Dada; the impact of spirituality on American dissonance; the crucial, behind-the-scenes role of women as patrons and promoters of modernist music; cross-currents between jazz and concert music; the critical reception of modernist music (especially in the writings of Carl Van Vechten and Paul Rosenfeld); and the international impulse behind neoclassicism. The book also examines the persistent biases of the time, particularly anti-Semitisim, gender stereotyping, and longstanding racial attitudes. |
Dall'interno del libro
Risultati 1-5 di 15
Pagina xi
... Edgard Varèse 25 3 The Arrival of European Modernism 45 The Machine in the Concert Hall 4 Engineers of Art 59 5 Ballet Mécanique and International Modernist Networks 71 Spirituality and American Dissonance 6 Dane Rudhyar's Vision of ...
... Edgard Varèse 25 3 The Arrival of European Modernism 45 The Machine in the Concert Hall 4 Engineers of Art 59 5 Ballet Mécanique and International Modernist Networks 71 Spirituality and American Dissonance 6 Dane Rudhyar's Vision of ...
Pagina 17
... Figure 1.3. Leo Ornstein, photo by “Sarony,” as published in Musical Quarterly (1918). Reproduced by permission of Oxford University Press. Figure 2.1. Edgard Varèse, photo published in Musical America (5. Leo Ornstein 17.
... Figure 1.3. Leo Ornstein, photo by “Sarony,” as published in Musical Quarterly (1918). Reproduced by permission of Oxford University Press. Figure 2.1. Edgard Varèse, photo published in Musical America (5. Leo Ornstein 17.
Pagina 25
... lend themselves to every expression of thought." He also criticized contemporary performers and audiences for being "hypnotized by the past." Already he had formulated 25 2 2 Creating a God: The Reception of Edgard Varèse.
... lend themselves to every expression of thought." He also criticized contemporary performers and audiences for being "hypnotized by the past." Already he had formulated 25 2 2 Creating a God: The Reception of Edgard Varèse.
Pagina 27
... Varese followed a. Figure 2.1. Edgard Varèse, photo published in Musical America (5 December 1925). Courtesy Figure 3.1. “Igor Strawinsky,” photo from Musical Quarterly (1916). Reproduced. of Musical America Archives. Creating a God 27.
... Varese followed a. Figure 2.1. Edgard Varèse, photo published in Musical America (5 December 1925). Courtesy Figure 3.1. “Igor Strawinsky,” photo from Musical Quarterly (1916). Reproduced. of Musical America Archives. Creating a God 27.
Pagina 366
Hai raggiunto il limite di visualizzazione per questo libro.
Hai raggiunto il limite di visualizzazione per questo libro.
Sommario
3 | |
9 | |
The Machine in the Concert Hall | 57 |
Spirituality and American Dissonance | 95 |
Myths and Institutions | 153 |
New World Neoclassicism | 229 |
European Modernists and American Critics | 283 |
Widening Horizons | 311 |
Epilogue | 361 |
Selected Discography | 365 |
Programs of ModernMusic Societies in New York 19201931 | 367 |
Notes | 407 |
Selected Bibliography | 459 |
Index | 469 |
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Parole e frasi comuni
1925 Aeolian Hall Aaron Copland Aeolian Hall American composers American Music Guild artists Association of Composers Ballet Mécanique Bartók Blitzstein Carl Ruggles Carlos Salzedo Carnegie Hall Chamber orchestra Charles Chávez clarinet clusters Composers March Composers November composition conductor International Composers conductor League Cowell’s critic cultural Dane Rudhyar dissonance Edgard Varèse European Example George Antheil Gershwin Greta Torpadie Guild April Guild December Henry Cowell included January jazz Klaw Theatre later League of Composers Leo Ornstein letter Louis Gruenberg machine Modern Music modernist movement Musical America Musical Chronicle neoclassicism new-music Pan American Association Paris Paul Rosenfeld performed Perlis Philharmonic piano piano American Music piano Copland-Sessions Concerts piano International Composers piano League piano Pro Musica piece premiere published quoted Rhapsody in Blue Ruggles’s Schoenberg score Scriabin Seeger Sonata soprano spiritual Stravinsky String Quartet Symphony Orchestra Town Hall ultra-modern Vanity Fair Varèse’s Vechten Virgil Thomson voice Wertheim Whiteman Whithorne wrote York
Brani popolari
Pagina 177 - Americans of all ages, all conditions, and all dispositions constantly form associations. They have not only commercial and manufacturing companies, in which all take part, but associations of a thousand other kinds — religious, moral serious, futile, general or restricted, enormous or diminutive. The Americans make associations to give entertainments, to found...
Pagina 225 - It is indeed striking to observe how the political, psychological, and aesthetic discourse around the turn of the century consistently and obsessively genders mass culture and the masses as feminine, while high culture, whether traditional or modern, clearly remains the privileged realm of male activities.
Pagina 306 - It is true that under the glassy, brassy surface of American jocosity and business there is a pulp and a quick, and this pulpy quick, this nervous and acutely self-critical vitality, is in our day in a strange ferment. A fresh and more sensitive emotion seems to be running up and down the old Yankee backbone, that rarely blossoming stalk. I am speaking myself as a thorough-going Yankee to other thorough-going Yankees, — as a "little American" (to adopt a phrase which, as time goes on, may prove...
Pagina 201 - This she might not attempt. It was unladylike. Why? Why were most big things unladylike? Charlotte had once explained to her why. It was not that ladies were inferior to men; it was that they were different. Their mission was to inspire others to achievement rather than to achieve themselves.
Pagina xiii - There is singularly nothing that makes a difference a difference in beginning and in the middle and in ending except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations and this is what makes everything different otherwise they are all alike and everybody knows it because everybody says it.
Pagina 17 - But it is to the very inwardness of life that intuition leads us — by intuition I mean instinct that has become disinterested, selfconscious, capable of reflecting upon its object and of enlarging it indefinitely.
Pagina 21 - Our personality, which is being built up each instant with its accumulated experience, changes without ceasing. By changing, it prevents any state, although superficially identical with another, from ever repeating it in its very depth.
Pagina 64 - As he grew accustomed to the great gallery of machines, he began to feel the forty-foot dynamos as a moral force, much as the early Christians felt the Cross. The planet itself seemed less impressive, in its old-fashioned, deliberate, annual or daily revolution, than this huge wheel, revolving within...