1930s Music

Understanding Charles Seeger, Pioneer in American Musicology by Bell Yung,

A giant in the development of American musicology, Charles Seeger was a scholar-musician active in practically all areas of musical endeavor: performance, composition, theory, criticism, pedagogy, 1930s music and musicology. This wide-ranging collection provides a historical context for Seeger's ideas by investigating his writings on music, musical research, 1930s music and the responsibility of the musician 1930s music and musicologist to society. A passionate teacher who began at the University of California at Berkeley in 1912 1930s music and was active until his death at the age of ninety-two, Seeger was vitally interested in bridging the gap between academia 1930s music and the world outside the ivory tower. He was also concerned with nurturing uniquely American musical forms 1930s music and played a leadership role in the Composers Collective in New York in the 1930s. A philosopher, builder, 1930s music and social activist, Seeger was integral to the founding of such scholarly organizations as the American Musicological Society 1930s music and the Society for Ethnomusicology. Indeed, his ideas about music 1930s music and musicology, incorporating perspectives as diverse as physics, philosophy, 1930s music and anthropology, set the stage for the rise of modern ethnomusicology. Understanding Charles Seeger, Pioneer in American Musicology traces Seeger's advocacy of exploring alternatives to nineteenth-century European romantic musical style 1930s music and his involvement with folk music research, including his initial dismissal 1930s music and later acceptance of folk music as a positive social force. Contributors reassess the intellectual relationship between Seeger 1930s music and his second wife, Ruth Crawford, 1930s music and explore such issues as Seeger's concern with the role of music 1930s music and the composer in a class society, his freeadaptation of Marxist notions of class 1930s music and social change, 1930s music and his eclectic philosophy 1930s music and theories about music, its operation, 1930s music and its place in society.
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Colin McPhee: Composer in Two Worlds

Colin McPhee was a performer, writer, 1930s music and pioneer among Western composers in turning to Asia for inspiration. A close friend of Aaron Copland, Carlos Chavez, Henry Cowell, 1930s music and Virgil Thomson, he played a vital role in new music activities in New York in the 1920s, but his most important accomplishments came from his devotion to the music of Bali. Carol Oja's Colin McPhee: Composer in Two Worlds traces his life, his influences on fellow musicians, 1930s music and the profound experience of a composer striving to comprehend an entirely new musical language. After hearing rare recordings of the Balinese gamelan--a percussion orchestra with delicately layered textures 1930s music and clangorous sounds McPhee traveled to Bali 1930s music and worked closely with such Western anthropologists as Margaret Mead 1930s music and Gregory Bateson. The island may also have appealed to him because of its relatively open attitude toward homosexuality. Gay by inclination, he nevertheless married anthropologist Jane Belo 1930s music and built a native-style house on the island where they lived for most of the 1930s. During this time, McPhee became a devoted 1930s music and meticulous chronicler of Balinese musical culture, 1930s music and his Music of Bali remains a classic in ethnomusicology. Beginning in the mid-1930s, his own compositions became an imaginative hybrid of Balinese 1930s music and Western music, anticipating the later work of such figures as John Cage, Lou Harrison, 1930s music and Steve Reich. Finally back in print, Carol Oja's account of McPhee's unconventional life 1930s music and work evokes key issues in composition 1930s music and ethnomusicology, sure to be of interest to scholars, musicians or anyone interested in 20th century American or Balinese music.
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Music history of the United States during the colonial era - The influence of the music of African-Americans has most set the United States apart from that of Western Europe. While African Americans were looked down on by the majority of European-Americans and their culture was denigrated as low class, if not semi-barbaric as late as the 1930s, the music was wildly popular with the general public.

Anthology of American Folk Music - The Anthology of American Folk Music is a recording that collects several dozen folk and country songs which were initially recorded from the 1920s and 1930s, and were first released on 78 rpm records. Although the choice of songs is idiosyncratic, the collection is famous due to its role as a touchstone for the folk music revival in the 1950s and 1960s.

Music of Wisconsin - Perhaps the most influential musical output of Wisconsin came from Port Washington, Ozaukee County during the 1920s, when Paramount Records released a series of blues and jazz recordings. Large-scale immigration for Europe in the 1930s led to the popularization of gallops, schottisches, waltzes, and, especially, polkas.

Swing Era - The Swing Era was the period of time (1935-1946) when big band swing music was the most popular music in America. Thought the music's been around since the late 1920s -early 1930s, bringing played by Black bands like Duke Ellington, Louis Armstrong, & Fletcher Henderson, most historians believe that the Swing Era started with Benny Goodman's performance at the Palomar Ballroom on August 21, 1935, bringing the music to the rest of the country.

1930smusic

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Elijah Wald provides the first thorough examination of Johnson's work and makes it the centerpiece for a fresh look at the entire history of the Sahara). For personal use only. South Africa The South African music Christian missions provided the first organized musical training in the country, producing many of the musicians themselves, the African-American press, and original research. THE GENIUS OF LADY DAY collects rare TV clips, as well as substance abuse problems, Holiday's personal story ensured her notoriety; yet it was just this sense of pathos that made her music rights well Muze end (C) of her own style of singing that was passionate, poignant, and heartbreaking. DVD Features: Region 0 Keep Case Full Frame - 1.33 Copyright (C) Muze Inc. 2005. All rights reserved. While trying to separate fantasy from reality, he accepts that neither the