{"id":2468,"date":"2017-10-30T23:12:32","date_gmt":"2017-10-31T04:12:32","guid":{"rendered":"https:\/\/pages.stolaf.edu\/americanmusic\/?p=2468"},"modified":"2017-10-30T23:12:32","modified_gmt":"2017-10-31T04:12:32","slug":"symphonic-jazz-opinions","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/americanmusic\/2017\/10\/30\/symphonic-jazz-opinions\/","title":{"rendered":"Symphonic Jazz Opinions"},"content":{"rendered":"

\"\"<\/a>This Manitou messenger article is a report on a talk given by a St. Olaf professor about jazz music. Even though the article is more of a report on what happened, it seems to be a good representation of students\u2019 opinions and other opinions of the time because the author didn\u2019t feel the need to argue against what this professor said. <\/span><\/p>\n

It is clear that Overby doesn\u2019t think that jazz music is \u201cgood.\u201d The criteria that he sets up for this judgment doesn\u2019t speak well for what jazz is, but it conveys the thoughts that show the well-established differences in popular and classical music. Overby claims that jazz has some goodness through the \u201cmodern school of composition.\u201d Walter Damrosch\u2019s view from around the time of Gershwin\u2019s <\/span>Rhapsody in Blue<\/span><\/i> reflects a similar claim. He argues that jazz is a very low form of art, but that a great composer could lift it up into something with more emotion.<\/span><\/p>\n

\"\"<\/a>So, Overby is saying that not all jazz is to be condemned. Yet, according to the views expressed in this article, jazz is only praiseworthy once it has been made into symphonic jazz. This goes back to the fact that many things get changed and appropriated to suit audiences so that the product can be acknowledged and respected. Often people validate their actions of appropriation by saying that it comes from a place of respect for the original, but did composers have to respect original jazz sources to begin with in order to use them? Paul Whiteman, known as \u201cthe King of Jazz,\u201d called it primitive, which seems inherently disrespectful to me. His orchestra can be heard on this LP titled, “Jazz.” Most people can recognize that the nature of developments like symphonic jazz aren\u2019t entirely favorable for everyone involved all the time, but it is important to reflect on this in order to apply modern issues of cultural appropriation.<\/span><\/p>\n

 <\/p>\n

Sources<\/span><\/p>\n

Crawford, Richard. <\/span>America’s Musical Life. <\/span><\/i>New York: W. W. Norton & Company, Inc., 2001.<\/span><\/p>\n

Harrison, Max. “Symphonic jazz.” <\/span>Grove Music Online<\/span><\/i>. <\/span>Oxford Music Online<\/span><\/i>. Oxford University Press, accessed October 31, 2017. <\/span>http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/27249<\/span><\/a>.<\/span><\/p>\n

Oja, Carol. <\/span>Making Music Modern<\/span><\/i><\/a>: New York in the 1920s. <\/span><\/i>New York: Oxford University Press, 2000. <\/span><\/p>\n

Ramsey, Frederic, Jr. <\/span>Jazz. <\/span><\/i>The Blues Folkways Records FJ 2804, LP, 1958. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

This Manitou messenger article is a report on a talk given by a St. Olaf professor about jazz music. Even though the article is more of a report on what happened, it seems to be a good representation of students\u2019 … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2560,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[35,899,897],"class_list":["post-2468","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-jazz","tag-paul-whiteman","tag-symphonic-jazz"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7jEhR-DO","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/2468","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/users\/2560"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/comments?post=2468"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/2468\/revisions"}],"predecessor-version":[{"id":2473,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/2468\/revisions\/2473"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/media?parent=2468"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/categories?post=2468"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/tags?post=2468"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}