By Barbara Meister
Song Musique is a research of yank and French composers energetic within the overdue nineteenth via early twentieth centuries and the impression of jazz on their compositional types. beginning with a glance on the formation of yankee and French types of composition, Meister discusses the jazz impression on American composers equivalent to Ives, Copland, and Seeger, and their reception in France. She then takes a parallel examine the jazz impression on sought after French composers corresponding to Ravel, Milhaud, and Messiaen, with a end that in short outlines post-World warfare II musical advancements. enormous awareness is paid to the social and political worlds during which those artists lived and created. Of specific curiosity is the group of Afro-American jazz musicians who settled in Paris after international battle I, and their impact at the likes of Ravel, Milhaud, Satie, and different artists with New Orleans-based types. Meister additionally discusses the extra well-known coteries of yank writers who lived and labored in Paris throughout the Twenties and Nineteen Thirties. The tales of those teams of usa citizens in Paris shape a desirable historical past to the most subject of the ebook. track Musique is meant for amateurs and specialists alike; it presents rules approximately repertoire in addition to information regarding compositions which are more likely to be heard in functionality. The emphasis of the textual content is often at the piano solo literature or different piano music-song accompaniments, piano duets, or inner orchestral piano components.
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Additional resources for Music Musique: French and American Piano Composition in the Jazz Age
As we discussed in the previous chapter, the cakewalk, although probably not this particular example of its perky rhythmic scheme, was among the earliest aspects of American music to attract French attention. From Uncle Remus has all sorts of minstrel show references, but true to MacDowell’s theories, it makes no attempt to tell an Uncle Remus story. MacDowell often said that his titles, and even the poems and epigrams he often included in his printed scores, while important to him as inspiration, were intended only to convey the mood of the composer when he sat down to write the piece in question.
Quite a racy subject for Boston, the city famous for banning books with explicitly sexual passages (hence the familiar phrase “banned in Boston”), this work, once very popular, has dropped from the repertoire in both its incarnations. Despite the generally European orientation of the majority of his compositions, Foote did make one small step toward the formation of an American style: in his first Piano Trio (1884) he incorporated a bit of American hymnody. Whether or not this perhaps inadvertent musical gesture had 29 30 Music Musique any influence on Ives is hard to say, for, as we shall see, that iconoclastic New Englander resolutely marched to his own drummer.
A student first at the Paris Conservatoire, where his talents were not much appreciated, and many years later, when he was forty years old, with d’Indy at the Schola Cantorum, Satie was an anomaly no matter what the current Zeitgeist. Called by Debussy “a fine medieval musician who has wandered into this century,” 18 he was involved with the Rosicrucian movement (a throwback to a fifteenth-century society of philosophers, alchemists, and metaphysicians that attracted many late-nineteenthcentury mystics and poets) and had a strong predilection for plainsong and organum.