By Craig Schuftan
Hi there! Nietzsche! depart Them children Alone!
Why do goths put on black? Why do rock singers make that 'jesus' form on degree? Why do songs approximately loss of life and melancholy make us believe strong? And why can't you get no delight? in keeping with Craig Schuftan, all of it begun approximately 2 hundred years ago.
HEY, NIETZSCHE! is the 1st booklet to discover the hidden roots of rock and roll within the romantic circulation. Schuftan choices up a clue in My Chemical Romance's 'Welcome the Black Parade', and follows it right into a global the place Keats meets the therapy, Wordsworth hangs with Weezer, and Byron exchanges haughty glances with Bowie. From Schopenhauer's darkest days to Queen's maximum hits, whats up, NIETZSCHE! is a wild trip in the course of the 19th century with the simplest mix-tape on the planet at the automobile stereo.
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Extra info for Hey, Nietzsche! Leave Them Kids Alone
The music historian Eileen Southern (1997) in The Music of Black Americans describes how the professional class of black musicians by the end of the nineteenth century performed across the country in popular bands and orchestras. Like their white counterparts, black professional musicians based their performances on instrumental techniques and music repertoires from Europe. The black middle class in the nineteenth century adopted similar attitudes as the white middle class, aesthetic and moral, about what constituted “good” music and this was reflected in the performances of black professional musicians.
In the first two decades of the twentieth century several additional patronsupported symphony orchestras were established in major cities including Minneapolis, San Francisco, and Houston. ” Just like classical music, opera music was easily mixed into a variety of popular performances from large summer jubilees to musical extravaganzas. In fact, as Lawrence Levine (1988) points out, songs from European operas were popular and could be found in virtually any popular performance context, either performed straight or in parody.
As Paul DiMaggio (1982) and Lawrence Levine (1988) argue, the establishment of the Boston Symphony Orchestra in 1881 marked the beginning of the rise of a patron-supported high art world of European cultivated music performance. The patronage model of the Boston Symphony Orchestra proved successful in establishing permanent symphony orchestras across the country. By the end of the nineteenth century such orchestras were established in St. Louis, Pittsburgh, Cincinnati, Los Angeles, Philadelphia, New York, Chicago as well as Boston.