Les limites de la réception savante du jazz en France : La Revue musicale, 1920-1939
All things considered, one may claim that, during the 1920s and 1930s, La Revue musicale, a serious (and very Parisian) musical publication became aware of the importance of jazz for the French musical elite (made up of connoisseurs, critics and musicians). Well-known professional musical critics —...
Kaydedildi:
| Yazar: | |
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| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Français |
| Baskı/Yayın Bilgisi: |
2001
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| Konular: | |
| Online Erişim: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Özet: | All things considered, one may claim that, during the 1920s and 1930s, La Revue musicale, a serious (and very Parisian) musical publication became aware of the importance of jazz for the French musical elite (made up of connoisseurs, critics and musicians). Well-known professional musical critics —Henry Prunières, André Cœuroy, Arthur Hoerée, Hugues Panassié and others — expressed the view that jazz was indeed a new combination of music, rhythm and life, but they eventually failed in their effort to understand it because of certain cultural barriers : jazz and Negro cultural values, jazz and improvisation. |
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