Dvořák's prophecy: and the vexed fate of Black classical music
A provocative interpretation of why classical music in America "stayed white"- how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvořák prophesied a "great and noble school" of American classical music based on the "negro melodies" he...
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| Format: | Book |
| Language: | English |
| Published: |
New York
W. W. Norton & Company, Inc.
[2022]
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| Edition: | First edition |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Summary: | A provocative interpretation of why classical music in America "stayed white"- how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvořák prophesied a "great and noble school" of American classical music based on the "negro melodies" he had excitedly discovered since arriving in the United States a year before. But while BLack music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvořák's lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin's Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Berstein, he looks back to literary figures--Emerson, Melville, and Twain--to ponder how American music can connect with a "usable past." The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvořák's Prophecy arrives in the midst of an important conversation about race in America--a conversation that is taking place in music schools and concert halls as well as capitals and boardroooms. As George Shirley writes in his foreword to the book, "We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of Aermican classical music than what we have known before. It is more diverse and more equitable. And it is more truthful." -- |
| Physical Description: | xxiii, 229 Seiten 24 cm |
| ISBN: | 9780393881240 |
Staff View
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| 505 | 8 | 0 | |t Foreword |r by George Shirley |t Preamble. Using the past -- |t Dvořak, American music, and race |t Dvořák's prophecy |t Dvořák's progeny: Burleigh and Coleridge-Taylor |t The Black symphonists |t Porgy and Bess |t The appropriation debate -- |t In defense of nostalgia |t James Gibbons Huneker and the "Old Guard" |t In defense of nostalgia |t Henry Edward Krehbiel and "Negro melodies" |t The fragmentation of culture -- |t Nostalgic subversions |t Using the vernacular: Mark Twain and Charles Ives |t Race and the moral core |t The transcendentalist past -- |t Oedipal revolt |t The useless past: Van Wyck Brooks and the myth of the "Gilded Age" |t The useless past: Virgil Thomson, Aaron Copland, and the standard narrative |t Leonard Bernstein and the Ives Case |t Copland and Mexico |t Postscript: The standard narrative and the CIA -- |t The bifurcation of American music |t Why American classical music stayed white |t Was there a usable musical past? |t Using Whitman and Melville |t Confluence |t The souls of Black folk -- |t Classical music Black and "Red" |t Rediscovering William Levi Dawson |t Rediscovering Florence Price |t Rediscovering Nathaniel Dett |t America's forbidden composer -- |t Using history: a personal quest |t The condition of pastlessness |t Culture and "social control" |t Trigger warnings |t Reencountering Harry Burleigh |t Reencountering John Singer Sargent |t Reencountering Arthur Farwell |t Porgy and Dvořák's prophecy -- |t Summing up |t A new paradigm |t The paradigm summarized |t Dvořák's prophecy |
| 520 | 3 | |a A provocative interpretation of why classical music in America "stayed white"- how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvořák prophesied a "great and noble school" of American classical music based on the "negro melodies" he had excitedly discovered since arriving in the United States a year before. But while BLack music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvořák's lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin's Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Berstein, he looks back to literary figures--Emerson, Melville, and Twain--to ponder how American music can connect with a "usable past." The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvořák's Prophecy arrives in the midst of an important conversation about race in America--a conversation that is taking place in music schools and concert halls as well as capitals and boardroooms. As George Shirley writes in his foreword to the book, "We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of Aermican classical music than what we have known before. It is more diverse and more equitable. And it is more truthful." -- | |
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Record in the Search Index
| _version_ | 1804183175438532608 |
|---|---|
| adam_text | Contents Foreword by George Shirley xi Preamble Using the Past chapter i Dvořák, American Music, and Race ХѴІІ і Dvorak’s Prophecy—Dvorak’s Progeny: Burleigh and Coleridge-Taylor— The Black Symphonists—Porgy and Bess—The Appropriation Debate chapter 2 In Defense of Nostalgia 29 James Gibbons Huneker and the “Old Guard’’—In Defense ofNostalgiaHenry Edward Krehbiel and “Negro Melodies”—The Fragmentation of Culture Chapters Nostalgic Subversions 51 Using the Vernacular: Mark Twain and Charles Ives— Race and the Moral Core—The Transcendentalist Past
Chapter 4 Oedipal Revolt 75 The Useless Past: Van Wyck Brooks and the Myth of the “Gilded Age’’— The Useless Past: Virgil Thomson, Aaron Copland, and the Standard Narrative—Leonard Bernstein and the Ives Case—Copland and MexicoPostscript: The Standard Narrative and the CIA chapter 5 The Bifurcation of American Music ш Why American Classical Music Stayed White—Was There a Usable Musical Past?—Using Whitman and Melville—Confluence—The Souls of Black Folk Chapter 6 Classical Music Black and “Red” 131 Rediscovering William Levi Dawson—Rediscovering Florence Price— Rediscovering Nathaniel Dett—America’s Forbidden Composer chapter 7 Using History—A Personal Quest 149 The Condition ofPastlessness—Culture and “Social Control”—Trigger Warnings—Reencountering Harry Burleigh—Reencountering John Singer Sargent—Reencountering Arthur Farwell—Porgy and Dvorak’s Prophecy Summing Up 183 Ճ New Paradigm—The Paradigm Summarized—Dvorak’s Prophecy Acknowledgments Notes 205 Index 215 About the Author 203 230
|
| adam_txt |
Contents Foreword by George Shirley xi Preamble Using the Past chapter i Dvořák, American Music, and Race ХѴІІ і Dvorak’s Prophecy—Dvorak’s Progeny: Burleigh and Coleridge-Taylor— The Black Symphonists—Porgy and Bess—The Appropriation Debate chapter 2 In Defense of Nostalgia 29 James Gibbons Huneker and the “Old Guard’’—In Defense ofNostalgiaHenry Edward Krehbiel and “Negro Melodies”—The Fragmentation of Culture Chapters Nostalgic Subversions 51 Using the Vernacular: Mark Twain and Charles Ives— Race and the Moral Core—The Transcendentalist Past
Chapter 4 Oedipal Revolt 75 The Useless Past: Van Wyck Brooks and the Myth of the “Gilded Age’’— The Useless Past: Virgil Thomson, Aaron Copland, and the Standard Narrative—Leonard Bernstein and the Ives Case—Copland and MexicoPostscript: The Standard Narrative and the CIA chapter 5 The Bifurcation of American Music ш Why American Classical Music Stayed White—Was There a Usable Musical Past?—Using Whitman and Melville—Confluence—The Souls of Black Folk Chapter 6 Classical Music Black and “Red” 131 Rediscovering William Levi Dawson—Rediscovering Florence Price— Rediscovering Nathaniel Dett—America’s Forbidden Composer chapter 7 Using History—A Personal Quest 149 The Condition ofPastlessness—Culture and “Social Control”—Trigger Warnings—Reencountering Harry Burleigh—Reencountering John Singer Sargent—Reencountering Arthur Farwell—Porgy and Dvorak’s Prophecy Summing Up 183 Ճ New Paradigm—The Paradigm Summarized—Dvorak’s Prophecy Acknowledgments Notes 205 Index 215 About the Author 203 230 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Horowitz, Joseph 1948- |
| author_GND | (DE-588)128639733 (DE-588)134521439 |
| author_additional | by George Shirley |
| author_facet | Horowitz, Joseph 1948- |
| author_role | aut |
| author_sort | Horowitz, Joseph 1948- |
| author_variant | j h jh |
| building | Verbundindex |
| bvnumber | BV047689693 |
| contents | Foreword Preamble. Using the past -- Dvořak, American music, and race Dvořák's prophecy Dvořák's progeny: Burleigh and Coleridge-Taylor The Black symphonists Porgy and Bess The appropriation debate -- In defense of nostalgia James Gibbons Huneker and the "Old Guard" Henry Edward Krehbiel and "Negro melodies" The fragmentation of culture -- Nostalgic subversions Using the vernacular: Mark Twain and Charles Ives Race and the moral core The transcendentalist past -- Oedipal revolt The useless past: Van Wyck Brooks and the myth of the "Gilded Age" The useless past: Virgil Thomson, Aaron Copland, and the standard narrative Leonard Bernstein and the Ives Case Copland and Mexico Postscript: The standard narrative and the CIA -- The bifurcation of American music Why American classical music stayed white Was there a usable musical past? Using Whitman and Melville Confluence The souls of Black folk -- Classical music Black and "Red" Rediscovering William Levi Dawson Rediscovering Florence Price Rediscovering Nathaniel Dett America's forbidden composer -- Using history: a personal quest The condition of pastlessness Culture and "social control" Trigger warnings Reencountering Harry Burleigh Reencountering John Singer Sargent Reencountering Arthur Farwell Porgy and Dvořák's prophecy -- Summing up A new paradigm The paradigm summarized |
| ctrlnum | (OCoLC)1291302351 (DE-599)BVBBV047689693 |
| edition | First edition |
| era | Geschichte 1900-2020 gnd |
| era_facet | Geschichte 1900-2020 |
| format | Book |
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| geographic | USA (DE-588)4078704-7 gnd |
| geographic_facet | USA |
| id | DE-604.BV047689693 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T18:57:06Z |
| indexdate | 2024-07-10T09:19:16Z |
| institution | BVB |
| isbn | 9780393881240 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033073702 |
| oclc_num | 1291302351 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | xxiii, 229 Seiten 24 cm |
| psigel | BSB_NED_20220308 |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | W. W. Norton & Company, Inc. |
| record_format | marc |
| spelling | Horowitz, Joseph 1948- Verfasser (DE-588)128639733 aut Dvořák's prophecy and the vexed fate of Black classical music Joseph Horowitz ; [foreword by George Shirley] First edition New York W. W. Norton & Company, Inc. [2022] xxiii, 229 Seiten 24 cm txt rdacontent n rdamedia nc rdacarrier Foreword by George Shirley Preamble. Using the past -- Dvořak, American music, and race Dvořák's prophecy Dvořák's progeny: Burleigh and Coleridge-Taylor The Black symphonists Porgy and Bess The appropriation debate -- In defense of nostalgia James Gibbons Huneker and the "Old Guard" In defense of nostalgia Henry Edward Krehbiel and "Negro melodies" The fragmentation of culture -- Nostalgic subversions Using the vernacular: Mark Twain and Charles Ives Race and the moral core The transcendentalist past -- Oedipal revolt The useless past: Van Wyck Brooks and the myth of the "Gilded Age" The useless past: Virgil Thomson, Aaron Copland, and the standard narrative Leonard Bernstein and the Ives Case Copland and Mexico Postscript: The standard narrative and the CIA -- The bifurcation of American music Why American classical music stayed white Was there a usable musical past? Using Whitman and Melville Confluence The souls of Black folk -- Classical music Black and "Red" Rediscovering William Levi Dawson Rediscovering Florence Price Rediscovering Nathaniel Dett America's forbidden composer -- Using history: a personal quest The condition of pastlessness Culture and "social control" Trigger warnings Reencountering Harry Burleigh Reencountering John Singer Sargent Reencountering Arthur Farwell Porgy and Dvořák's prophecy -- Summing up A new paradigm The paradigm summarized Dvořák's prophecy A provocative interpretation of why classical music in America "stayed white"- how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvořák prophesied a "great and noble school" of American classical music based on the "negro melodies" he had excitedly discovered since arriving in the United States a year before. But while BLack music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvořák's lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin's Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Berstein, he looks back to literary figures--Emerson, Melville, and Twain--to ponder how American music can connect with a "usable past." The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvořák's Prophecy arrives in the midst of an important conversation about race in America--a conversation that is taking place in music schools and concert halls as well as capitals and boardroooms. As George Shirley writes in his foreword to the book, "We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of Aermican classical music than what we have known before. It is more diverse and more equitable. And it is more truthful." -- Geschichte 1900-2020 gnd rswk-swf Komponist (DE-588)4032009-1 gnd rswk-swf Rassenfrage (DE-588)4176975-2 gnd rswk-swf Schwarze (DE-588)4116433-7 gnd rswk-swf Klassische Musik (DE-588)4164043-3 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Music / United States / History and criticism African Americans / Music / History and criticism Music / United States / African American influences Music and race / United States Dvořák, Antonín / 1841-1904 African Americans / Music Music Music / African American influences Music and race United States Criticism, interpretation, etc USA (DE-588)4078704-7 g Klassische Musik (DE-588)4164043-3 s Komponist (DE-588)4032009-1 s Rassenfrage (DE-588)4176975-2 s Geschichte 1900-2020 z DE-604 Schwarze (DE-588)4116433-7 s Shirley, George 1934- (DE-588)134521439 wpr Erscheint auch als Online-Ausgabe 978-0-393-88125-7 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033073702&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Horowitz, Joseph 1948- Dvořák's prophecy and the vexed fate of Black classical music Foreword Preamble. Using the past -- Dvořak, American music, and race Dvořák's prophecy Dvořák's progeny: Burleigh and Coleridge-Taylor The Black symphonists Porgy and Bess The appropriation debate -- In defense of nostalgia James Gibbons Huneker and the "Old Guard" Henry Edward Krehbiel and "Negro melodies" The fragmentation of culture -- Nostalgic subversions Using the vernacular: Mark Twain and Charles Ives Race and the moral core The transcendentalist past -- Oedipal revolt The useless past: Van Wyck Brooks and the myth of the "Gilded Age" The useless past: Virgil Thomson, Aaron Copland, and the standard narrative Leonard Bernstein and the Ives Case Copland and Mexico Postscript: The standard narrative and the CIA -- The bifurcation of American music Why American classical music stayed white Was there a usable musical past? Using Whitman and Melville Confluence The souls of Black folk -- Classical music Black and "Red" Rediscovering William Levi Dawson Rediscovering Florence Price Rediscovering Nathaniel Dett America's forbidden composer -- Using history: a personal quest The condition of pastlessness Culture and "social control" Trigger warnings Reencountering Harry Burleigh Reencountering John Singer Sargent Reencountering Arthur Farwell Porgy and Dvořák's prophecy -- Summing up A new paradigm The paradigm summarized Komponist (DE-588)4032009-1 gnd Rassenfrage (DE-588)4176975-2 gnd Schwarze (DE-588)4116433-7 gnd Klassische Musik (DE-588)4164043-3 gnd |
| subject_GND | (DE-588)4032009-1 (DE-588)4176975-2 (DE-588)4116433-7 (DE-588)4164043-3 (DE-588)4078704-7 |
| title | Dvořák's prophecy and the vexed fate of Black classical music |
| title_alt | Foreword Preamble. Using the past -- Dvořak, American music, and race Dvořák's prophecy Dvořák's progeny: Burleigh and Coleridge-Taylor The Black symphonists Porgy and Bess The appropriation debate -- In defense of nostalgia James Gibbons Huneker and the "Old Guard" Henry Edward Krehbiel and "Negro melodies" The fragmentation of culture -- Nostalgic subversions Using the vernacular: Mark Twain and Charles Ives Race and the moral core The transcendentalist past -- Oedipal revolt The useless past: Van Wyck Brooks and the myth of the "Gilded Age" The useless past: Virgil Thomson, Aaron Copland, and the standard narrative Leonard Bernstein and the Ives Case Copland and Mexico Postscript: The standard narrative and the CIA -- The bifurcation of American music Why American classical music stayed white Was there a usable musical past? Using Whitman and Melville Confluence The souls of Black folk -- Classical music Black and "Red" Rediscovering William Levi Dawson Rediscovering Florence Price Rediscovering Nathaniel Dett America's forbidden composer -- Using history: a personal quest The condition of pastlessness Culture and "social control" Trigger warnings Reencountering Harry Burleigh Reencountering John Singer Sargent Reencountering Arthur Farwell Porgy and Dvořák's prophecy -- Summing up A new paradigm The paradigm summarized |
| title_auth | Dvořák's prophecy and the vexed fate of Black classical music |
| title_exact_search | Dvořák's prophecy and the vexed fate of Black classical music |
| title_exact_search_txtP | Dvořák's prophecy and the vexed fate of Black classical music |
| title_full | Dvořák's prophecy and the vexed fate of Black classical music Joseph Horowitz ; [foreword by George Shirley] |
| title_fullStr | Dvořák's prophecy and the vexed fate of Black classical music Joseph Horowitz ; [foreword by George Shirley] |
| title_full_unstemmed | Dvořák's prophecy and the vexed fate of Black classical music Joseph Horowitz ; [foreword by George Shirley] |
| title_short | Dvořák's prophecy |
| title_sort | dvorak s prophecy and the vexed fate of black classical music |
| title_sub | and the vexed fate of Black classical music |
| topic | Komponist (DE-588)4032009-1 gnd Rassenfrage (DE-588)4176975-2 gnd Schwarze (DE-588)4116433-7 gnd Klassische Musik (DE-588)4164043-3 gnd |
| topic_facet | Komponist Rassenfrage Schwarze Klassische Musik USA |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033073702&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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