The Rise of a Jazz Art World by Paul Lopes

By Paul Lopes

The origins of jazz have been within the barrelhouses of latest Orleans and the speakeasies of Chicago. through the 19 fifties, a musical renaissance reworked jazz right into a excessive artwork shape. Paul Lopes indicates how the increase of a jazz artwork global used to be a different movement--a socially assorted group of musicians, critics, creditors, manufacturers, and fanatics that struggled in quite a few methods opposed to cultural orthodoxy in the US. This obtainable, interdisciplinary e-book can be of serious curiosity to students and scholars of sociology, cultural stories, American stories, African-American reviews, and jazz reports.

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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

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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.

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