I'll start by saying that I haven't read the article yet (it's been archived for my next lull during commutes) and I know the author is going to dig into the racial aspects of the piece and how...
I'll start by saying that I haven't read the article yet (it's been archived for my next lull during commutes) and I know the author is going to dig into the racial aspects of the piece and how Gershwin "took jazz off the streets, dressed her up, and took her to the concert hall" but I do want to share the lovely animation that Disney made for their Fantasia 2000 anthology. Maybe give it a watch and enjoy one last time before you have the piece possibly sullied by modern cultural appropriation discourse.
I enjoyed this article! It's got a good survey of attitudes towards the piece, but also the interesting insight about the promise of the piece when it came out: a closer fusion of ideas between...
I enjoyed this article! It's got a good survey of attitudes towards the piece, but also the interesting insight about the promise of the piece when it came out: a closer fusion of ideas between the classical and jazz worlds. As someone who plays both, I see the author's point that classical players/composers on the whole still don't have a good sense of how to implement jazz rhythm, both in the strictness of tempo or the swing beat. I don't totally agree with his main point though.. I find love and respect from most classical/jazz musicians for the other side, and the number of universities and conservatories offering jazz programs is both a symptom and a cause for the jazz/classical blends we see today. I think the reason the two worlds are still quite separate is the same reason that Japanese and English languages will remain distinct from each other no matter how close relations get between their native speakers--the languages are just fundamentally different and it's hard to master both in one lifetime.
Oxalis was worried the piece would just be about cultural appropriation; the author mentions it briefly, but I don't think it's the main focus of the authors' gripe.
This work holds a special place in my heart because it was my entry into classical / orchestral music as a young teen. Growing up there was nothing around me but country music and easy listening....
This work holds a special place in my heart because it was my entry into classical / orchestral music as a young teen. Growing up there was nothing around me but country music and easy listening. At 13 we moved to an actual city and one evening I heard "Rhapsody In Blue" on the radio and knew I has been introduced to something amazing.
I'll start by saying that I haven't read the article yet (it's been archived for my next lull during commutes) and I know the author is going to dig into the racial aspects of the piece and how Gershwin "took jazz off the streets, dressed her up, and took her to the concert hall" but I do want to share the lovely animation that Disney made for their Fantasia 2000 anthology. Maybe give it a watch and enjoy one last time before you have the piece possibly sullied by modern cultural appropriation discourse.
https://youtu.be/ie-TS-BitnQ
I always think about the opening of Manhattan.
Mirror, for those hit by the paywall:
https://archive.is/47Cnx
I enjoyed this article! It's got a good survey of attitudes towards the piece, but also the interesting insight about the promise of the piece when it came out: a closer fusion of ideas between the classical and jazz worlds. As someone who plays both, I see the author's point that classical players/composers on the whole still don't have a good sense of how to implement jazz rhythm, both in the strictness of tempo or the swing beat. I don't totally agree with his main point though.. I find love and respect from most classical/jazz musicians for the other side, and the number of universities and conservatories offering jazz programs is both a symptom and a cause for the jazz/classical blends we see today. I think the reason the two worlds are still quite separate is the same reason that Japanese and English languages will remain distinct from each other no matter how close relations get between their native speakers--the languages are just fundamentally different and it's hard to master both in one lifetime.
Oxalis was worried the piece would just be about cultural appropriation; the author mentions it briefly, but I don't think it's the main focus of the authors' gripe.
This work holds a special place in my heart because it was my entry into classical / orchestral music as a young teen. Growing up there was nothing around me but country music and easy listening. At 13 we moved to an actual city and one evening I heard "Rhapsody In Blue" on the radio and knew I has been introduced to something amazing.