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 79
Pagina iv
... York, New York 10016 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic ...
... York, New York 10016 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic ...
Pagina 3
New York in the 1920s Carol J. Oja. I. Introduction. The. Modern. Music. Shop. f you picked up a phone in Manhattan to call "DRY Dock 3732" at just about any point during the 1920s, a voice at the other end would have answered "Modern Music ...
New York in the 1920s Carol J. Oja. I. Introduction. The. Modern. Music. Shop. f you picked up a phone in Manhattan to call "DRY Dock 3732" at just about any point during the 1920s, a voice at the other end would have answered "Modern Music ...
Pagina 4
... York had become an energetic force in modern music. Within a few weeks, the New York premiere of Stravinsky's he Sucre du printemps (a work from 1913) took place in a gala Carnegie Hall performance, the young Californian Henry Cowell ...
... York had become an energetic force in modern music. Within a few weeks, the New York premiere of Stravinsky's he Sucre du printemps (a work from 1913) took place in a gala Carnegie Hall performance, the young Californian Henry Cowell ...
Pagina 5
... York's composers figure crucially in the city's cultural identity.5 In exploring the various arenas in which musical modernism appeared in New York, I reexamine well-known figures and recover lost voices, discussing selected ...
... York's composers figure crucially in the city's cultural identity.5 In exploring the various arenas in which musical modernism appeared in New York, I reexamine well-known figures and recover lost voices, discussing selected ...
Pagina 6
New York in the 1920s Carol J. Oja. The book concludes with a composite listing of all the music performed on concerts sponsored by New York's modern-music societies during the 1920s. "New York," within these frameworks, becomes more a ...
New York in the 1920s Carol J. Oja. The book concludes with a composite listing of all the music performed on concerts sponsored by New York's modern-music societies during the 1920s. "New York," within these frameworks, becomes more a ...
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 |
Altre edizioni - Visualizza tutto
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...