scholarly journals Within the Quota de Cole Porter et Charles Koechlin : la francisation du jazz américain

2017 ◽  
Vol 16 (1-2) ◽  
pp. 39-50
Author(s):  
Jacinthe Harbec
Keyword(s):  
New York ◽  
Darius Milhaud ◽  
George Gershwin ◽  
New York Tribune

Créé à Paris le 23 octobre 1923 par les Ballets suédois de Rolf de Maré, Within the Quota a été commandé en vue de la tournée américaine prévue pour le mois suivant. Ayant comme toile de fond les péripéties d’un immigrant suédois arrivant à New York, le ballet se déroule sur une musique jazz composée par Cole Porter et orchestrée par Charles Koechlin. Or, lors de la représentation new-yorkaise en novembre 1923, F. D. Perkins du New York Tribune affirme que le jazz de Porter contient plus de traces stylistiques de Darius Milhaud que celles de George Gershwin. Installé à Paris depuis 1919, Porter révèle-t-il ainsi dans sa partition des transferts stylistiques issus de son nouvel environnement musical ? Jusqu’à quel point l’orchestration de Koechlin concourt-elle à « franciser » l’écriture de cette oeuvre américaine ? Cet article vise notamment à démontrer l’imprégnation d’éléments propres à la musique française moderne au coeur de l’écriture jazz de Porter. Dans cette démonstration de la francisation du jazz, il est question d’abord des traits jazzistiques de Porter, puis de l’orchestration de Koechlin en prenant en compte la partition manuscrite pour trois pianos de Porter. L’étude se penche ensuite sur la facture « francisée » de la musique de Porter sur les plans mélodiques et harmoniques. Celle-ci révèle que même si Porter met l’accent sur des sonorités jazzistiques par l’usage de notes bluesées et de rythmes fortement syncopés, la partition Within the Quota regorge d’éléments empruntés à des compositeurs français qu’il fréquente à partir de1920.

scholarly journals Horace Greeley, Founder and Editor of The New York Tribune

1903 ◽  
Vol 9 (1) ◽  
pp. 187
Author(s):  
Charles H. Levermore ◽  
William Alexander Linn
Keyword(s):  
New York ◽  
New York Tribune

From the history of American journalism.

2021 ◽  
Author(s):  
Tat'yana Alent'eva
Keyword(s):  
New York ◽  
Civil War ◽  
Editorial Staff ◽  
The United States ◽  
Political Struggle ◽  
Political Issues ◽  
North Americans ◽  
American Journalism ◽  
History Of ◽  
New York Tribune

The monograph examines the period in the history of the United States immediately preceding the Civil War of 1861-1865. The problem that is at the center of the author's attention is the public opinion of Americans on the most important domestic political issues. The paper analyzes the influence of the newspaper "New York Tribune" on the formation of views, opinions and preferences of Americans. For the first time in Russian American studies, a thorough analysis of the leading periodical of the pre-war period is given, the composition of the editorial staff and the views of journalists are described in detail. Special attention is paid to the founder and publisher of "Tribune" Horace Greeley. The monograph examines both socio-economic problems and the party-political struggle. The most important compromise measures, the Civil War in Kansas, the presidential elections of 1856 and 1860 are evaluated through the prism of the comments of the New York Tribune and at the same time through the perception of its readers. As a result, the monograph creates a multicolored palette of opinions of North Americans, their perception of the situation in the country on the eve of the Civil War. This allows us to expand and deepen our understanding of the causes of the second North American revolution. For professionals, students, and anyone interested in the problems of history.

On Colonialism: Articles from the New York Tribune and Other Writings

1974 ◽  
Vol 7 (1) ◽  
pp. 132
Author(s):  
John D. Hargreaves ◽  
Karl Marx ◽  
Frederick Engels
Keyword(s):  
New York ◽  
New York Tribune

scholarly journals Symfonia wielkiego miasta. O wizerunku Nowego Yorku w „Manhattanie” Woody’ego Allena

2014 ◽  
pp. 215-241
Author(s):  
Magdalena Karkiewicz
Keyword(s):  
New York ◽  
New York City ◽  
Critical Study ◽  
Major Objective ◽  
Film Genre ◽  
Avant Garde ◽  
George Gershwin ◽  
Black And White ◽  
Rhapsody In Blue ◽  
The City

One of the major objective of this essay is to show that Woody Allen’s Manhattan (1979) is a renewal of an old film genre called the city symphony. In this movie, the director outlined a suggestive portrait of his beloved New York City. After Annie Hall (1977), Manhattan is the second most complete expression of the specificity of Allen’s style, which consists of comic and tragic elements. Another object of this essay is to demonstrate that while creating the image of the metropolis the director particularly exploits the tools of film expression. Audiovisual layer of Allen’s work allows to juxtapose Manhattan with the city symphony (genre which came into being in the twenties as an innovative combination of documentary and avant-garde forms). The similarity between Manhattan and the original city symphonies is visible at the very beginning of the film, because of black and white, kaleidoscopic shots of metropolis as well as the backing sound (Rhapsody in Blue by George Gershwin). Allen’s picture is not only a sophisticated portrait of New York, but also the critical study of the society

Stephen Foster

Music ◽  
2020 ◽  
Author(s):  
Deane L. Root ◽  
Codee Spinner
Keyword(s):  
United States ◽  
New York ◽  
Cultural History ◽  
Western Europe ◽  
The United States ◽  
Online Information ◽  
Tin Pan Alley ◽  
George Gershwin ◽  
Instrumental Works ◽  
American Society

Stephen Collins Foster (b. Lawrence, near Pittsburgh, PA, 4 July 1826–d. New York, 13 January 1864) was the first professional songwriter in the United States, and the earliest to write songs whose images pervaded American culture and whose melodies endure into the 21st century. For his most familiar songs, he wrote both lyrics and music, though he also set poems that had appeared in household magazines, and toward the end of his life he partnered with poet George Cooper. His oeuvre includes principally songs for solo voice (or solo voice plus four-voice chorus) with piano accompaniment, four-voice hymns, and instrumental works (mostly dances, for piano). His songs for blackface minstrels (which provided him with the majority of his income, though they amount to less than one-tenth of his 287 authenticated compositions) were controversial from the start; they made Foster’s reputation, even as he attempted to create “refined” songs in a genre he considered to be rife with “trashy and really offensive words” (Foster letter to E. P. Christy, 25 May 1852). He was of Scots-Irish descent, and as a resident of a northern industrializing urban center that drew workers from throughout Western Europe, he was attuned to different national styles of song and common sentiments of lyric poetry not confined by ethnicity, race, or social class. His song structures and lyrics became models for other songwriters well into the Tin Pan Alley era; his inability to control copyrights (which were owned by his publishers) and his death in poverty (with 38 cents in his pocket) were factors in the establishment of the American Society of Composers, Authors and Publishers (ASCAP) fifty years later. It is perhaps not coincidental that songs quoting Foster’s “Swanee River” (“The Old Folks at Home”) helped launch the careers of two of the most significant American songwriters of the 20th century, Irving Berlin (“Alexander’s Ragtime Band”) and George Gershwin (“Swanee”). This bibliography summarizes the major sources of archival, published, and online information about Foster’s life, career, music, and their interpretation and influence in the social and cultural history of the United States, Europe, and East Asia. It omits the sound recordings, plays, films, novels, and other creative works that reflect and contribute to that influence.

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