By David Schiff
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Epigraphs, pp. 71-72: Igor Stravinsky, Stravinsky in dialog with Robert Craft, pp. 128-30; Gene Krupa, in Gottlieb, ed. , interpreting Jazz, p. 774; Stravinsky, stories and Commentaries (2002), p. 136; George Antheil, stated in Albright, Modernism and tune, p. 395; Mercer Ellington, quoted in Nicholson, Reminiscing in pace, p. 124. 1. Octave Mirabeau in 1908, quoted in Kern, The tradition of Time and house 1880-1918, p. 113. 2. Walter Lippman in 1914, quoted in ibid. , p. 124. three. Porter, Ullman, and Hazell, Jazz, p.
Manhattan: Columbia collage Press, 1975. ———, ed. A Ravel Reader: Correspondence, Articles, Interviews. long island: Columbia college Press, 1990. Ottley, Roi. “New international A-Coming”: within Black the US. Boston: Houghton Mifflin, 1943. Pasler, Jann. Confronting Stravinsky: guy, Musician, and Modernist. Berkeley: collage of California Press, 1986. Peinkofer, Karl, and Fritz Tannigel. instruction manual of Percussion tools: Their features and enjoying suggestions, with Illustrations and Musical Examples from the Literature.
Schoenberg, Kandinsky and the Blue Rider, p. 25. forty. Hahl-Koch, Arnold Schoenberg/ Wassily Kandinsky, p. 21. forty-one. Ibid. , p. 2. three. forty two. Meyer and Wasserman, eds. , Schoenberg, Kandinsky and the Blue Rider, p. 30. forty three. Ibid. , p. 50. forty four. Schoenberg and Stein, type and inspiration, p. one hundred forty five. forty five. Kandinsky, about the religious in paintings, p. nine. forty six. Ibid. , p. thirteen. forty seven. Hahl-Koch, Arnold Schoenberg / Wassily Kandinsky, p. 149. forty eight. Kandinsky, about the non secular in artwork, pp. 38-41. forty nine. See Covach, “Schoenberg and the Occult,” pp. 103-18. 50. Hahl-Koch, Arnold Schoenberg / Wassily Kandinsky, p.
A Cuban son trend places 3 unequal beats of the clave opposed to equivalent foot beats. In Bulgarian rhythm the three + three + 2 trend is heard as 3 steps; in “I bought Rhythm” it has (or four). even though Bartók used to be one of many few ecu composers to seem untouched by way of jazz within the Twenties, he however learned that Bulgarian meters bore an uncanny relation to jazz, and he took good thing about the relationship in 1938 while he composed Contrasts for Joseph Szigeti and Benny Goodman. The King of Swing used to be additionally a major classical clarinetist; his jazz type, furthermore had jap ecu klezmer overtones (most evidently in Ziggy Elman's “And the Angels Sing” in keeping with the klezmer track “Der Shtiler Bulgar”).