George gershwins compositions represent a synthesis of which styles:
West side story – tonight quintet and chorus (1961) hd
Through the convergence of jazz and concert elements, George Gershwin is credited with producing a truly American sound. Too often, later listeners who strive to find what is “good” and “American,” or who are merely repeating the mantra previously espoused, take his works for granted and put them on a pedestal. A quote from the Manitou Messenger from 1950 is a good example of this. “Concluding the program are some common excerpts from “Porgy and Bess” by George Gershwin, who is credited with having best articulated the modern American idiom,” the author writes in defining the music for a St. Olaf Band concert.
This assertion seems to be made casually in order to entice concertgoers to attend. Though not necessarily false, this simplistic assertion fails to capture Porgy and Bess’s struggle with American identity. The Manitou Messenger isn’t the only one who makes large statements about music. We have yet (if ever) to describe categorical sounds for each of those subjects, as shown by the tradition of blues, jazz, and folk music. Gershwin has founded himself as a genuinely American composer, but this argument requires historical context.
Giovanni pacini – carlo di borgogna – “odi: i cannoni
In comparison to other composition teams, the Gershwin brothers had a very peculiar songwriting relationship in that George’s melodies typically came first. (Ira’s typical response to interviewers who asked, “Which comes first, the words or the music?” was, “The contract.”) George’s creative creativity was so flexible that he could sometimes write quality songs in only a few minutes of improvisation; at other occasions, he dipped into his notebooks of song sketches he’d collected over time (he once said, “I have more tunes in my mind than I could put down on paper in a hundred years”) and embellished an old melody he’d called “g.t.” (for “nice tune”). Ira would then spend a week or more fitting words to the tune, polishing and line until he was pleased (to the point that other songwriters dubbed him “The Jeweller”). Ira’s efforts were described by songwriter Arthur Schwartz as “a truly phenomenal accomplishment, when one considers he had to be brilliant inside the most confining rhythms and accents.”
Dave brubeck quartet – “blue rondo à la turk,” live
George Gershwin was one of America’s most influential and well-known composers. He was born in Brooklyn, New York in 1898 and wrote mainly for the Broadway musical theatre, but his orchestral and piano works, in which he combined, to varying degrees, classical music techniques and forms with stylistic complexities and techniques of popular music and jazz, are also noteworthy.
Gershwin was born in New York City to Russian-Jewish immigrants. Gershwin developed an early interest in music through his exposure to traditional and classical compositions he heard at school and in penny arcades, despite the fact that his family and friends were not musically inclined. His musical education started when he was 11 years old, when his family purchased a used upright piano ostensibly so that George’s older brother, Ira, could learn the instrument. George’s parents determined that he would be the family member to obtain lessons after he shocked everyone with his fluid playing of a common song, which he had taught himself by following the keys on a neighbor’s player piano. He studied piano with well-known teacher Charles Hambitzer, who exposed his young student to the works of great classical composers. “I have a new pupil who will make his mark if anyone will,” Hambitzer wrote in a letter to his sister, “and I refuse to pay for the lessons because I am so impressed with Gershwin’s potential.” “This child is a genius…”
Hannelore vermeir- paul harvey: three etudes on
Early in the 19th century, distinct types of American popular music arose, and the American music industry created a number of new forms of music in the 20th century, incorporating elements of blues and other American folk music genres. Nation, R&B, jazz, and rock were among the most prominent styles. In the 1960s and 1970s, American popular music underwent major shifts, including the rise of new genres such as heavy metal, punk, soul, and hip hop. Despite the fact that these styles were not conventional, they were commercially recorded and therefore fall under the category of popular music rather than folk or classical music.
Sentimental parlor songs by Stephen Foster and his peers, as well as songs intended for use in minstrel plays, theatrical productions that included singing, dancing, and comedic performances, were the first songs that could be called American popular music, as opposed to popular music of a specific area or ethnicity. Minstrel shows often featured African instruments and dance, as well as actors who had their faces blackened, a practice known as blackface. 1st By the mid-nineteenth century, traveling companies had brought this music to every corner of the United States, as well as the United Kingdom, Western Europe, and even Africa and Asia. The music of minstrel shows was often marketed as being in an African American style, but this was not always the case.