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Read ! Making Music Modern: New York in the 1920s PDF by * Carol J. Oja eBook or Kindle ePUB Online free. Making Music Modern: New York in the 1920s 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. New York City witnessed a daz
| Title | : | Making Music Modern: New York in the 1920s |
| Author | : | |
| Rating | : | 4.59 (597 Votes) |
| Asin | : | 0195162579 |
| Format Type | : | paperback |
| Number of Pages | : | 512 Pages |
| Publish Date | : | 2015-12-04 |
| Language | : | English |
Edoardo Turbil said Five Stars. Perfect!!!. What a time it was and what a fine book to bring it alive for us once again Craig Matteson What an exciting and most interesting book! Carol Oja takes us back to a transitional period in the cultural history of New York City (and America); the 1920s. It isn't that book doesn't talk about anything outside of those years, but that the stuff before leads into that decade and the stuff after discusses how it flowed from those times. Probably the best place to start reading this book is the fascinating Appendix that lists the programs of Modern Music Societies in New York from 1920-31. It gives you a flavor for the decade and the material the book is going to cover.There was a time when Europe treated all of the United States abo. When American Music Came Into Its Own J Scott Morrison Carol Oja's 'Making Music Modern: New York in the 1920s' is an important book for those of us who want to know more about the historical development of 'modern' music in the US. Her main thesis is that it was during the latter part of the 1910s and the whole of the 1920s, and particularly in New York, that American composers developed a modernity that was wholly theirs, not something borrowed from Europe. Of course, there were predecessors--giants like Charles Ives--but they were still largely being ignored. It wasn't until a nucleus of composers, patrons, and fledgling arts organizations began coalescing in New York that the American
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. New York City witnessed a dazzling burst of creativity in the 1920s. 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. They showed exceptional skill at marketing their work. 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. She also illustrates how the aesthetic attitudes and institutional structures from the 1920s left a deep imprint on the arts over the 20th century. The book also examines the persistent biases of the time, particularly anti-Semitisim, gender stereotyping, and lo
Carol Oja is William Powell Mason Professor of Music at Harvard University. Composers.. She is co-editor of Aaron Copland and his World, as well as author of Colin McPhee: Composer in Two Worlds, which won the ASCAP-Deems Taylor Award, and American Music Recordings: A Discography of U.S
She profiles a variety of composers, both well known (Aaron Copland) and little remembered (Dane Rudhyar), analyzing a composition and placing the musician within the context of the overall artistic and social milieu. Exhaustively researched and written in an intelligent, engaging style, this book is highly recommended for academic collections and for public collections with a sophisticated clientele.DBarry Zaslow, Miami Univ. . of William and Mary) adds to her list of well-received music titles, including the ASCAP-Deems Taylor Award-winning Colin McPhee: Composer in Two Worlds. Libs., Oxford, OH Copyright 2000 Reed Business Information, Inc. Women patrons, the influence of jazz, and music criticism are discussed, and there is a useful appendix of programs of modern music societies.
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