French Music and Jazz in Conversation: From Debussy to Brubeck (Music since 1900)

French Concert Music And Jazz Often Enjoyed A Special Creative Exchange Across The Period 1900-1965. French Modernist Composers Were Particularly Receptive To Early African-american Jazz During The Interwar Years, And American Jazz Musicians, Especially Those Concerned With Modal Jazz In The 1950s And Early 1960s, Exhibited A Distinct Affinity With French Musical Impressionism. But Despite A General, If Contested, Interest In The Cultural Interplay Of Classical Music And Jazz, Few Writers Have Probed The Specific French Music-jazz Relationship In Depth. In This Book, Deborah Mawer Sets Such Musical Interplay Within Its Historical-cultural And Critical-analytical Contexts, Offering A Detailed Yet Accessible Account Of Both French And American Perspectives. Blending Intertextuality With More Precise Borrowing Techniques, Mawer Presents Case Studies On The Musical Interactions Of A Wide Range Of Composers And Performers, Including Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans And Dave Brubeck-- Orleans To New Orleans And Back Again ... The Lure And Influence Of Jazz Upon Composers Of French Modernist Music Was Acknowledged By An Article In The Musical Quarterly, Published As Early As 1935. Conversely, As Mervyn Cooke Points Out, The Practice Of Jazz Improvisers 'jazzing-up Classical Music Is As Old As Jazz Itself', While For Musicians Like Dave Brubeck, 'jazz Has Always Been A Hybrid Music.'-- Introduction: French Music And Jazz: Cultural Exchange -- Part I. Locations And Relations: 1. A Historical-cultural Overview; 2. Critical-analytical Perspectives: Intertextuality And Borrowing -- Part Ii. The Impact Of Early Jazz Upon French Music (1900-1935): 3. Debussy And Satie: Early French Explorations Of Cakewalk And Ragtime; 4. Milhaud's Understanding Of Jazz And Blues: La Creation Du Monde; 5. Crossing Borders: Ravel's Theory And Practice Of Jazz -- Part Iii. The Impact Of French Music Upon Jazz (1925-1965): 6. Hylton's Interwar 'jazzed' Arrangements Of French Classics; 7. (re)moving Boundaries? Russell's Lydian Jazz Theory And Its Rethinking Of Debussy And Ravel; 8. Bill Evans's Modal Jazz And French Music Reconfigured; 9. Milhaud And Brubeck: French Classical Teacher And American Jazz Student. Deborah Mawer. Includes Bibliographical References (pages 275-293), Discography, And Index. La 4e de couv. indique : "French concert music and jazz often enjoyed a special creative exchange across the period 1900-1965. French modernist composers were particularly receptive to early African-American jazz during the interwar years, and American jazz musicians, especially those concerned with modal jazz in the 1950s and early 1960s, exhibited a distinct affinity with French musical impressionism. But despite a general, if contested, interest in the cultural interplay of classical music and jazz, few writers have probed the specific French music-jazz relationship in depth. In this book, Deborah Mawer sets such musical interplay within its historical-cultural and critical-analytical contexts, offering a detailed yet accessible account of both French and American perspectives. Blending intertextuality with more precise borrowing techniques, Mawer presents case studies on the musical interactions of a wide range of composers and performers, including Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave Brubeck." French concert music and jazz often enjoyed a special creative exchange across the period 1900–65. French modernist composers were particularly receptive to early African-American jazz during the interwar years, and American jazz musicians, especially those concerned with modal jazz in the 1950s and early 1960s, exhibited a distinct affinity with French musical impressionism. However, despite a general, if contested, interest in the cultural interplay of classical music and jazz, few writers have probed the specific French music-jazz relationship in depth. In this book, Deborah Mawer sets such musical interplay within its historical-cultural and critical-analytical contexts, offering a detailed yet accessible account of both French and American perspectives. Blending intertextuality with more precise borrowing techniques, Mawer presents case studies on the musical interactions of a wide range of composers and performers, including Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave Brubeck. Introduction. French music and jazz : cultural exchange Locations and relations. A historical-cultural overview ; Critical-analytical perspectives : intertextuality and borrowing The impact of early jazz upon French music (1900-1935). Debussy and Satie : early French explorations of cakewalk and ragtime ; Milhaud's understanding of jazz and blues : La création du monde ; Crossing borders : Ravel's theory and practice of jazz The impact of French music upon jazz (1925-1965). Hylton's interwar 'jazzed' arrangements of French classics ; (Re)Moving boundaries? Russell's Lydian jazz theory and its rethinking of Debussy and Ravel ; Bill Evans's modal jazz and French music reconfigured ; Milhaud and Brubeck : French classical teacher and American jazz student. Explores the historical-cultural interactions between French concert music and American jazz across 1900-1965, from both perspectives. "Orleans to New Orleans and back again ... The lure and influence of jazz upon composers of French modernist music was acknowledged by an article in The musical quarterly, published as early as 1935. Conversely, as Mervyn Cooke points out, the practice of jazz improvisers 'Jazzing-up classical music is as old as jazz itself,' while for musicians like Dave Brubeck, 'Jazz has always been a hybrid music.'"--Provided by publisher. This book explores the rich historical-cultural interactions between French concert music and American jazz in the first half of the twentieth century (1900-65), from both perspectives. Deborah Mawer provides a set of detailed musical case studies on Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave Brubeck. This book explores the historical-cultural interactions between French concert music and American jazz across 1900-1965, from both perspectives