The story of the African American contributions to the symphonic jazz vogue of the 1920s through the 1940s.
During the early decades of the twentieth century symphonic jazz involved an expansive family of music that emulated, paralleled, and intersected the jazz tradition. Though now largely forgotten, symphonic jazz was both a popular music---arranging tradition and a repertory of hybrid concert works, both of which reveled in the mildly irreverent interbreeding of white and black and high and low music. While the roots of symphonic jazz can be traced to certain black ragtime orchestras of the teens, the idiom came to maturation in the music of 1920s white dance bands.
Through a close examination of the music of Duke Ellington and James P. Johnson, Ellington Uptown uncovers compositions that have usually fallen in the cracks between concert music, jazz, and popular music. It also places the concert works of these two iconic figures in context through an investigation both of related compositions by black and white peers and of symphonic jazz---style arrangements from a diverse number of early sound films, Broadway musicals, Harlem nightclub floor shows, and select interwar radio programs.
Both Ellington and Johnson were part of a close-knit community of several generations of Harlem musicians. Older figures like Will Marion Cook, Will Vodery, W. C. Handy, and James Reese Europe were the generation of black musicians that initially broke New York entertainment's racial barriers in the first two decades of the century. By the 1920s, Cook, Vodery, and Handy had become mentors to Harlem's younger musicians. This generational connection is a key for understanding Johnson’s and Ellington's ambitions to use the success of Harlem's white-oriented entertainment trade as a springboard for establishing a black concert music tradition based on Harlem jazz and popular music.
John Howland is Assistant Professor of Music at Rutgers University and the cofounder and current editor-in-chief of the journal Jazz Perspectives. This work has been supported through several prestigious awards, including the Lloyd Hibberd Publication Endowment Fund of the American Musicological Society.
In the modern world, the public looks to scientists and scholars for their expertise on issues ranging from the effectiveness of vaccines to the causes of natural disasters. But for early Americans, whose relationship to nature was more intimate and perilous than our own, personal experience, political allegiances, and faith in God took precedence over the experiments of the learned.
In Everyday Nature, Sara Gronim shows how scientific advances were received in the early modern world, from the time Europeans settled in America until just before the American Revolution. Settlers approached a wide range of innovations, such as smallpox inoculation, maps and surveys, Copernican cosmology, and Ben Franklin’s experiments with electricity, with great skepticism. New Yorkers in particular were distrustful because of the chronic political and religious factionalism in the colony. Those discoveries that could be easily reconciled with existing beliefs about healing the sick, agricultural practices, and the revolution of the planets were more readily embraced.
A fascinating portrait of colonial life, this book traces a series of innovations that were disseminated throughout the Atlantic world during the Enlightenment, and shows how colonial New Yorkers integrated new knowledge into their lives.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press