Klarinet Archive - Posting 000965.txt from 2000/08

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: Re: [kl] Bernstein's Bernstein
Date: Tue, 29 Aug 2000 06:42:59 -0400

----- Original Message -----
From: Bill Hausmann <bhausmann1@-----.com>
Subject: Re: [kl] Bernstein's Bernstein
> >
> I am somewhat surprised by the omission of AFRICAN rhythms and the blues
> form in your mix.

Yes Bill an omission. I do think however, that even after this omission, I
still can not think that there has been as much black influence on American
music as what there has been from the white immigrant song writers,
even given that jazz was a hugely exciting new music. I believe that the
"song writers" music was more widely popular,and widely circulated thru`out
the world. Jazz only went into the night clubs and bars mainly. A little
amount of more sophisticated jazz made it into the concert halls. But the
30`s/40`s song`s were, in some cases specifically written for stage shows,
concert halls, cinema, high society functions, radio and eventually TV. They
were the "real" backbone of the new American music. Jazz has tried very hard
to compete, but has over the years tried to change it`s image. Without being
rude to it`s still vibrant heritage, it now seems to want to be seen as an
intellectual music. Why it does is a mystery to me. Whether this is slowly
killing it is of course another discussion. I`m English, as you know, and
whether this obscures my observations I`m not sure, but as far as recent
American history is concerned (60 years), in serious (intellectual)
composition, I do observe that the jazz influence seems to be of the
"square" circle variety. Not wholly understood (even by Euro composers -
Stravinsky not excluded). It always sounds awkward when inserted into the
otherwise seriously well written work. I exclude Copland`s Rodeo, where tune
origins seem to come more from popular folk song, and of course Gershwin,
who stands alone. Bernstein`s "jazz" can be questionable also. Again, W.S.S.
is popular song.

I must end on that note - G(no 5th)7/9/#11/13 and sing a b9 on top, (Ab) Now
do it 1000 times - - - - - -

Before I go, another story - - - Carl Ruggles was a New Englander born
in1876. His music seeks out the mountains, prairies, deserts and rivers of
America. "Men and Mountains", (1924). "The Sun Treader", (1932). Henry
Cowell relates, "One morning when I arrived at the abandoned school house in
Arlington where he now lives, he was sitting at the old piano singing a
single tone at the top of his raucous composer`s voice, and banging a single
chord at intervals over and over. He refused to be interrupted in this
pursuit, and after an hour or so, I insisted on knowing what the idea was."
"I`m trying over this damned chord," said he, "to see whether it still
sounds superb after so many hearings."
"Oh," I said tritely, "time will tell whether the chord has lasting value."
"The hell with time!" Carl replied. "I`ll give this chord the test of time
right now. If I find I still like it after trying it
over several thousand times, it`ll stand the test of time all right!"

We`re all mad arn`t we?!? - - - - -

Best,
Tony W.

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