French music and jazz in conversation: from Debussy to Brubeck
French concert music and jazz often enjoyed a special creative exchange across the period 1900-1965. 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 a...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
University Press
2014
|
| Ausgabe: | First published |
| Schriftenreihe: | Music since 1900
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | French concert music and jazz often enjoyed a special creative exchange across the period 1900-1965. 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 Brubeck. - Deborah Mawer is Research Professor of Music at Birmingham Conservatoire, Birmingham City University. Her books include The Ballets of Maurice Ravel: Creation and Interpretation (2006), Darius Milhaud: Modality and Structure in Music of the 1920s (1997), Ravel Studies (Cambridge University Press, 2010) and The Cambridge Companion to Ravel (Cambridge University Press, 2000). Her articles and reviews, also encompassing jazz and dance, have appeared in a variety of books and journals, including the Journal of the Royal Musical Association, Twentieth-Century Music, Music and Letters, Opera Quarterly, Music Theory Online and Music Analysis. In 2008 she was awarded a prestigious National Teaching Fellowship. (Klappentext) |
| Beschreibung: | XV, 304 Seiten Notenbeispiele |
| ISBN: | 9781107037533 |
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Datensatz im Suchindex
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| adam_text | Contents
List of figures page
χ
List of tables
xi
Acknowledgements
xii
Note on the text
xv
Introduction
-
French music and jazz: cultural exchange
1
Part I Locations and relations
11
1
A historical-cultural overview
13
2
Critical-analytical perspectives: intertextuality and borrowing
40
Part II The impact of early jazz upon French music
(1900-1935) 69
3
Debussy and
Satie:
early French explorations of Cakewalk
and ragtime
71
4
Milhaud s understanding of jazz and blues:
La Création du monde
99
5
Crossing borders: Ravel s theory and practice of jazz
136
Part III The impact of French music upon jazz
(1925-1965) 163
6
Hylton s interwar jazzed arrangements of French classics
165
7
(Re)Moving boundaries? Russell s Lydian jazz theory and its rethinking
of Debussy and Ravel
193
8
Bill Evans s modal jazz and French music reconfigured
217
9
Milhaud and Brubeck: French classical teacher and American jazz
student
242
Select discography
272
Select bibliography
275
Index
294
[ix]
Figures
6.1
Bretherton s
manuscript
score of Chopin,
Tristesse (T95,
p.
1).
Reproduced by kind permission of the Jack Hylton Archive, Lancaster
University, page
179
6.2
Yorke s manuscript score of Opera Selection (O3, p.
1).
Reproduced by kind
permission of the Jack Hylton Archive, Lancaster University.
182
6.3
Ternenťs
manuscript score of Ravel, Bolero (B39, p.
9;
letter F 1 8). Reproduced
by kind permission of the Jack Hylton Archive, Lancaster University.
189
M
Tables
5.1
Comparison
of raglike
forms page
150
5.2
Comparison of blues forms
152
5.3
Ravel s melodic-harmonic blue-note complex
155
7.1
Russell, The Seven Principal Scales of the
F
Lydian Chromatic Scale
(adapted from Russell, Lydian Chromatic Concept,
13) 200
7.2
Messiaen s modes of limited transposition
200
9.1
Brubeck, Jazz: Red Hot and Cool, The Duke (bars
10-13),
related
to Milhaud,
Polytonalité et atonalité
259
[xi]
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| title | French music and jazz in conversation from Debussy to Brubeck |
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