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George Gershwin 1898-1937
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Essays about george gershwin
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The Life and Music of the Great George Gershwin Abigail Hill, Chamber Choir In September of 1898, Morris and Rose Gershowitz (previously Moishe Gershowitz and Roza Bruskina) welcomed their second child, Jacob Gershwine(which would have been pronounced 'Gershvin') into the world. Preceding him was his older brother Ira, in 1896; born later was Arthur in 1900and Frances in1906. Gershwin came from Russian-Jewish heritage; his grandfather, Jakov Gershowitz, had served as a mechanic for the Imperial Russian Army for 25 years in order to earn his right to free travel and residence as a Jew, and he retired near Saint Petersburg. His son, Moishe, worked as a leather cutter for shoes, and fell in love with Roza Bruskina. However, she moved with her family to New York because of rising anti-Semitism in Russia and changed her first name to Rose. After serving his obligatory military service in Russia, Moishe followed Rose to America and gave his first name as Morris upon arrival. They married on July 21, 1895, when she was 19 and he was 23. After the birth of Ira, the family moved to 242 Snediker Avenue in Brooklyn. For the most part, Ira and George grew up near the Yiddish Theater District, where they frequented the local Yiddish theaters and ran errands for members; George even appeared onstage as an extra. Until the age of ten, George wasn’t interested in music; however, when he heard his friend Maxie Rosenzweig's violin recital, he became intrigued. His parents had bought a piano, originally for Ira; to their surprise and Ira's relief, it was George who played it. George had several piano teaches over the following two years, before he was introduced to Charles Hambitzer. Hambitzer acted as George’s mentor until his death in 1918; teac... ... middle of paper ... ...urope and the United States. He later returned home, seemingly tired of the Parisian atmosphere. In 1935, Gershwin’s most ambitious work, “Porgy and Bess” opened. He called it a “folk-opera,” and it is now one commonly regarded as one of the most significant American operas of the twentieth century. Through this work, he crossed lines and broke barriers, doing what none before him had. “Porgy and Bess” tells the tale of Porgy, a disabled black beggar living in the slums of Charleston, South Carolina, and his attempts to rescue Bess from her violent and possessive lover; it deals with themes of drug addiction, prostitution, violence, and murder. It was based on the novel “Porgy” by DuBose Heyward. “Porgy and Bess” contains some of Gershwin's most sophisticated music, including a fugue, a passacaglia, the use of atonality, polytonality and polyrhythm, and a tone row.
Rachel M. Harper’s The Myth of Music intentionally weaves together 1960s era jazz music and a poor African American family via metaphor and allusion to show a deep familiar bond between father and daughter.
Singing was also very important in the play. Most often, the songs that were sung in the play were used in conjuction with lighting to create the mood. Deep, slow songs indicated that times were changing from good to bad, or from bad to worse. High, fast songs introduced happy scenes. Scenes were also changed according to song, such as the jail scene. The cast began to sing a song about freedom and the jail bars disappeared, indicating through song that the men had been freed. Also, song was important in the play because the songs were specific to the african american culture.
Ragtime, by E.L. Doctorow, was originally published in 1975, and later became a musical that premiered at the Toronto Centre for the Arts in 1996. The story illustrates three families’ journeys in the changing society of America during the 1920s. Each family is in a different position in society. One family is rich and white and lives in the exclusive upper class neighborhood of New Rochelle, NY. Their lives are sheltered and privileged.
Israel Isidore Baline was born in the Russian village of Tyumen on May 11th, 1888. His family left in the mid 1890s to escape the persecution of the Jewish community and settled in New York City (biography.com). Israel dropped out of school at age thirteen (Kenrick 143). Baline was a street singer as a teen and in 1906 he got a job as a singing waiter in Chinatown (biography.com). The first song he ever had published was called “Marie From Sunny Italy” (biography.com). He wrote it in 1907 with Nick Nicholson writing the music. Baline’s name was misspelled on the sheet music as “I. Berlin” (biography.com). He decided to keep it and changed his name to Irving Berlin (biography.com) . It was in this way that the legend was born.
This work is directly inspired by Der Blaue Reiter Almanach. Primarily a work of prose, it consisted of plays, essays by leading artists and musicians detailing works of the era, and commentary on art, music, theater, and related subjects. The Brooklyn Rider Almanac is conceptually a modern recreation of this idea in music, in that musicians are providing a commentary of artists or their work through their music. In a way, The Brooklyn Rider Almanac approaches the idea of cross-disciplinary art from an opposite prospective as the Onomatopoetic Project. Many of the works presented during the concert as a part of The Brooklyn Rider Almanac were inspired by looking an artistic muse or idea as an inspiration to create music that reflects the muse. Artists from classically trained composers to jazz and rock musicians contributed to this collection of works, and the results are both fascinating and inspiring. One great example of this is Necessary…Henry by Albanian Cellist Rubin Kodheli. Inspired by the jazz musician Henry Threadgill, this work incorporates the styles of rock musicians like Jimi Hendrix into and what could be perceived as the farthest possible medium from rock: the string quartet. Like Threadgill’s earlier use of non-jazz instrumentation and ideas in jazz works, Kodheli uses sounds from the rock genre like virtuosic guitar-like riffs, rock groves, and highly
The 1920’s were a time of excitement, fun, experiments, and the rise in African American talent. Duke Ellington took part in this time to boost his career and have fun. Duke Ellington is a songwriter and performer in many great songs throughout the 1900’s. “The Jubilee Stomp”, written by Duke Ellington, reflects the fun and exciting times of the 1920’s, but it also shows us the rise of African-Americans and the Harlem Renaissance.
Georgi Melitonovich Balnchivadze, George Balanchine, was born on January 22, 1904 in St. Petersburg. He was born into a highly musical family. His father, Meliton, was a singer and composer and his mother Marie, was a pianist. His mother encouraged her children to have musical education. He began to take piano lesson at age 5. He also received a classical education with his sister, Tamara and his younger brother, Andrei. Ironically, Balanchine had no desire to dance at all. His sister and brother were dancers. Music was young Balanchine's passion he hated anything to do with performing.
The Beethoven Symphony #9 in D minor is being announced during the 4th movement of the symphony. Typically, in symphonies, the 4th movements take part in the term of Allegro, which means it is played quickly or fast. However, in Beethoven Symphony, the 4th movement opens with a flurry sound and then is introduced by an instrumental recitative. A recitative is a style of music alternating between speaking and singing words on the same note. In a recitative, the music lines are not repeated even though formally composed songs do.
Music throughout time has not only reflected the feeling of the musician but rather the feelings of a group of people at any one time It is important when learning about a period of time to look at the music of the period because it most likely shows the mood of the people and current events of the country. One time period specifically music greatly reflected the political and social culture of the time is the United States of America in the 1960s. One artist during this time was Bob Dylan. His most widely known song was called, “The Times They Are A-Changin”.
this paper I will discuss Gershwin’s life as a child and his upbringing and how his music
thesis of how the musical brought our inner child out to realize our true struggles in life.
When one considers the history of classical music, often images of Vienna, Prague, and other European cities come to mind. Centuries of European musical achievement and development have implanted in society the idea that classical music is an inherently European creation. Considering the accomplishments of countless composers such as J.S. Bach, Ludwig van Beethoven, and Antonin Dvorak, this preconception is certainly not unfounded. However, Leonard Bernstein's rise to international fame proved that one cannot neglect American composers in a discussion of the development of Western music. Combining elements of a vast array of musical styles, Bernstein's unique compositions reached a wide variety of audiences and often bridged gaps between distinct musical genres. Through his long conducting career, profoundly influential compositional output, and televised music lectures, Leonard Bernstein left a lasting legacy which came to define American music in the 20th century.
Louis Armstrong was an amazing trumpet player. Not only did he play the trumpet, he also was a bandleader, an amazing composer, singer, soloist, and comedian and also starred in films. One of the songs that Louis Armstrong is recognized for his recording of “What a Wonderful World”. Armstrong defined what it truly means to play Jazz.
As it mentioned above, the title itself, draws attention to the world-renowned music created by African Americans in the 1920s’ as well as to the book’s jazz-like narrative structure and themes. Jazz is the best-known artistic creation of Harlem Renaissance. “Jazz is the only pure American creation, which shortly after its birth, became America’s most important cultural export”(Ostendorf, 165). It evolved from the blues
Musical theatre is a type of theatrical performance combining music, dance, acting and spoken dialogue. Written by Leonard Bernstein and Stephen Sondheim, ‘West Side Story’ is a classic American musical based on William Shakespeare’s ‘Romeo and Juliet’. The through-composed score and lyrics are used to portray different characters and their cultures, the rivalry between the Jets and Sharks, and the emotions felt as the story progresses. This essay will be exploring the music and how effective the score is in realising the world and characters of the musical. Furthermore, it will discuss how Bernstein and Sondheim relate characters’ diverse ethnicities to particular musical ideas and motifs.