ISBN:
9781139775359
Language:
English
Pages:
1 Online-Ressource (xv, 304 Seiten)
Series Statement:
Music since 1900
Parallel Title:
Erscheint auch als
Parallel Title:
Erscheint auch als
DDC:
781.68/1650944
Keywords:
Geschichte 1900-2000
;
Geschichte 1900-1965
;
Musik
;
Music / France / 20th century / History and criticism
;
Jazz / History and criticism
;
Jazz
;
Musik
;
Frankreich
;
Frankreich
;
Frankreich
;
Musik
;
Jazz
;
Geschichte 1900-1965
Abstract:
French concert music and jazz often enjoyed a special creative exchange across the period 1900–65. French modernist composers were particularly receptive to early African-American jazz during the interwar years, and American jazz musicians, especially those concerned with modal jazz in the 1950s and early 1960s, exhibited a distinct affinity with French musical impressionism. But despite a general, if contested, interest in the cultural interplay of classical music and jazz, few writers have probed the specific French music-jazz relationship in depth. In this book, Deborah Mawer sets such musical interplay within its historical-cultural and critical-analytical contexts, offering a detailed yet accessible account of both French and American perspectives. Blending intertextuality with more precise borrowing techniques, Mawer presents case studies on the musical interactions of a wide range of composers and performers, including Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave Brubeck73
Description / Table of Contents:
Introduction: French music and jazz: cultural exchange -- Part I. Locations and Relations: 1. A historical-cultural overview; 2. Critical-analytical perspectives: intertextuality and borrowing -- Part II. The Impact of Early Jazz upon French Music (1900-1935): 3. Debussy and Satie: early French explorations of cakewalk and ragtime; 4. Milhaud's understanding of jazz and blues: La Creation du monde; 5. Crossing borders: Ravel's theory and practice of jazz -- Part III. The Impact of French Music upon Jazz (1925-1965): 6. Hylton's interwar 'jazzed' arrangements of French classics; 7. (Re)moving boundaries? Russell's Lydian jazz theory and its rethinking of Debussy and Ravel; 8. Bill Evans's modal jazz and French music reconfigured; 9. Milhaud and Brubeck: French classical teacher and American jazz student
DOI:
10.1017/CBO9781139775359
URL:
Volltext
(URL des Erstveröffentlichers)
URL:
Volltext
(URL des Erstveröffentlichers)
URL:
https://doi.org/10.1017/CBO9781139775359
URL:
Volltext
(URL des Erstveröffentlichers)
URL:
Volltext
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