Log in

Relevant bibliographies by topics / Gershwin, George, Gershwin, George

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Gershwin, George, Gershwin, George'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Gershwin, George, Gershwin, George.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Gershwin, George, Gershwin, George"

1

Teive, Hélio A. G., Francisco M. B. Germiniani, Alexander B. Cardoso, Luciano de Paola, and Lineu César Werneck. "The uncinated crisis of George Gershwin." Arquivos de Neuro-Psiquiatria 60, no. 2B (2002): 505–8. http://dx.doi.org/10.1590/s0004-282x2002000300033.

Full text

Abstract:

George Gershwin, renowned composer and pianist, well known for his popular works, died on the 11th July 1937 due to a brain tumor. His neurological symptoms first appeared on that same year, in February, with a simple olfactory partial seizure, characterized by an unpleasant smell of burnt rubber (uncinated seizure). He later had a quick clinical descend, with severe headache that occurred in bouts, dizziness, coordination compromise and olfactory seizures, eventually lapsing into a coma on the 9th July 1937. It was then that a gliomatosus cyst was diagnosed, which on microscopic examination p

APA, Harvard, Vancouver, ISO, and other styles

2

Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.

Full text

Abstract:

Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing i

APA, Harvard, Vancouver, ISO, and other styles

3

Neimoyer, Susan. "After the Rhapsody." Journal of Musicology 31, no. 1 (2014): 91–138. http://dx.doi.org/10.1525/jm.2014.31.1.91.

Full text

Abstract:

1924 was one of the most demanding years of George Gershwin’s career. In addition to the wildly successful premiere of the Rhapsody in Blue that led to numerous additional performances of the work throughout the year, he wrote the music for three hit musicals, all of which opened during that year. Given this context, a manuscript notebook in the Gershwin Collection at the Library of Congress dating from March and April 1924 is particularly intriguing. Because this notebook contains the earliest known sketch of “The Man I Love” (one of Gershwin’s best-loved popular songs), it has been acknowled

APA, Harvard, Vancouver, ISO, and other styles

4

Hamm, Charles. "The Theatre Guild Production of Porgy and Bess." Journal of the American Musicological Society 40, no. 3 (1987): 495–532. http://dx.doi.org/10.2307/831678.

Full text

Abstract:

Recent performances of George Gershwin's opera Porgy and Bess have been based on the uncut score as published by the Gershwin Publishing Corporation, on the assumption that the composer intended it to be played in this "complete" form. Gershwin sent his score to the publisher some months before the New York premiere, mounted by the Theatre Guild on 10 October 1935 after a tryout performance in Boston. Extensive cuts and other changes were made during rehearsals and after Boston, all initiated or approved by Gershwin, who was intimately involved in the production; none of this is reflected in t

APA, Harvard, Vancouver, ISO, and other styles

5

WIERZBICKI, JAMES. "The Hollywood Career of Gershwin's Second Rhapsody." Journal of the American Musicological Society 60, no. 1 (2007): 133–86. http://dx.doi.org/10.1525/jams.2007.60.1.133.

Full text

Abstract:

Abstract Around the time of its premiere in January 1932, George Gershwin's Second Rhapsody for Piano and Orchestra was erroneously described as an “expanded” version of music that had been written specifically for a 1931 Fox film entitled Delicious, and for decades this misinformation has been echoed by Gershwin scholars. In fact, Gershwin put the finishing touches on the Second Rhapsody months before Delicious went into production, and his sketch for what in essence is the complete work was made when the screenplay was still in its embryonic stage. Relying on evidence that includes Gershwin

APA, Harvard, Vancouver, ISO, and other styles

6

Crawford, Richard. "Where Did Porgy and Bess Come From?" Journal of Interdisciplinary History 36, no. 4 (2006): 697–734. http://dx.doi.org/10.1162/jinh.2006.36.4.697.

Full text

Abstract:

In 1924, Metropolitan Opera board chairman Otto Kahn proposed that the yet-to-be-written Great American Opera might well be a “jazz opera.” Eleven years later, George Gershwin's engagement with Kahn's idea came to fruition in Porgy and Bess (1935), set to a libretto by DuBose Heyward, based on Heyward's novella Porgy (1925) and his play of the same name staged in 1927. Several months before Porgy was published, Gershwin had already decided that a work of Kahn's description would have to be written for a black cast. Gershwin and Heyward, two white men, revealed through their collaboration not a

APA, Harvard, Vancouver, ISO, and other styles

7

Starr, Larry. "The George Gershwin Reader (review)." Notes 61, no. 4 (2005): 1015–18. http://dx.doi.org/10.1353/not.2005.0079.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Moody, Laura L. "George and Ira Gershwin Collection." Music Reference Services Quarterly 13, no. 3-4 (2010): 116–21. http://dx.doi.org/10.1080/10588167.2010.528723.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Meißner, Thomas. "Abruptes Ende für George Gershwin." CME 13, no. 3 (2016): 40–41. http://dx.doi.org/10.1007/s11298-016-5647-9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

REYNOLDS, CHRISTOPHER. "Porgy and Bess: “An AmericanWozzeck”." Journal of the Society for American Music 1, no. 1 (2007): 1–28. http://dx.doi.org/10.1017/s1752196307070010.

Full text

Abstract:

George Gershwin greatly admired Alban Berg and his operaWozzeck. He visited Berg in Vienna; the score he owned ofWozzeckwas reputedly one of his prize possessions; and he traveled to Philadelphia in 1931 to attend the American premiere. This study argues that Gershwin'sPorgy and Bessis heavily indebted to Berg'sWozzeck. The debts primarily involve structural processes—understanding structure as patterns of discrete events shared by the two operas. Motives and chords play a small role in the discussion, taking their place alongside musical events that range from the large—a fugue or a lullaby—t

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Gershwin, George, Gershwin, George"

1

Reighard, Mark. "A theoretical and performance analysis of the eighteen transcriptions from George Gershwin's Songbook /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Hsu, Yun-Ling. "Selected Gershwin songs as transcribed for the piano by George Gershwin and Earl Wild." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1261407378.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Kuhn, Clemens. "George Gershwins Concerto in F - ein amerikanisches Klavierkonzert?!" Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/994906838/04.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Pilo, Joakim. "George Gershwin och den symfoniska jazzen : Etablering av ett musikidiom." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173891.

Full text

Abstract:

Abstract Pilo, Joakim: George Gershwin och den symfoniska jazzen. Etablering av ett musikidiom. - Uppsala: Musikvetenskap ht 1998. - 60p. Hur kommer det sig att den musikaliska kombinationen mellan seriös konstmusik och populära inslag företrädesvis jazz, kunde vara så pass framgångsrik? Den frågan ligger till grund för uppsatsen, där huvudsyftet är att visa hur den amerikanska tonsättaren George Gershwin (1898-1937) med Rhapsody In Blue (1924) lyckades etablera ett musikidiom, symfonisk jazz. Det mindre syftet är att spegla de generella tankebanorna kring George Gershwin och den symfoniska

APA, Harvard, Vancouver, ISO, and other styles

5

Van, Dyke Joseph Michael. "George Gershwin’s An American in Paris for Two Pianos: A Critical Score Study and Performance Guide." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298660291.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Innis, Steve (Stephen Gregory). "George Gershwin's Rhapsody in Blue (Solo Piano Version) : An Historical, Rhythmic and Harmonic Perspective, a Lecture Recital, Together with Three Recitals of Selected Works of R. Schumann, F. Liszt and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278912/.

Full text

Abstract:

The evolution of twentieth century American music involves much more than the continuation of European tradition. The music of black Americans before and after the turn of the century had a profound impact on the musical sensibility of American culture in general. Additionally, the fledgling popular music publishing industry had a dramatic effect on the course of "classical" tradition. Nowhere was this more apparent than in the music of George Gershwin. Gershwin's importance in the history of American art music is undisputed. Why his music sounds the way it does is less understood. This paper

APA, Harvard, Vancouver, ISO, and other styles

7

Padilla, Rachel. "From Concert to Film: The Transformation of George Gershwin's Music in the Film "An American in Paris"." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/297397.

Full text

Abstract:

In 1951, Saul Chaplin, John Green, and Conrad Salinger adapted the music of composer George Gershwin (1898-1937) for a film musical titled An American in Paris, the finale of which was a 17-minute ballet scene set to a modified version of the composer’s tone poem from 1928. The plot bears broad similarities to isolated aspects of George Gershwin’s life. Such narrative elements offered a scaffold for an attractive subtext explored through the film score: a review of the trajectory and breadth of George Gershwin's compositional career from 1922-1937. My own analysis of the film and its score, us

APA, Harvard, Vancouver, ISO, and other styles

8

Zhu, Yanda. "Part I. Christmas Impressions for String Orchestra. Part II. An Analysis of George Gershwin's Piano Solo Version of Rhapsody In Blue." Youngstown State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1390514184.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Brown, Gwynne Kuhner. "Problems of race and genre in the critical reception of Porgy and Bess /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11397.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Tovar, Dale. "Dialogic Form, Harmonic Schemata, and Expressive Meaning in the Songs of Broadway." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22695.

Full text

Abstract:

This thesis addresses the matter of convention in Broadway songs of the song and dance era. Composers worked with implicit, regular procedures in the commercial aesthetic of the 1920s and 1930s New York theater industry. However, discussions of formal convention in this repertoire have not gone much beyond the identification of AABA and ABAC forms. I explore how hypermeter and conventional formal layouts act as schemata. Through this lens, I advocate for an in-time, listener-based approach to form, attending to the stylistically learned projections and anticipations. Later on, I unpack many o

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Gershwin, George, Gershwin, George"

1

George Gershwin. Da Capo Press, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Venezia, Mike. George Gershwin. Children's Press, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

George Gershwin. Gallimard, 2014.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

George Gershwin. Mazarine, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

George Gershwin. Phaidon Press, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Starr, Larry. George Gershwin. Yale University Press, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

George Gershwin: American composer. Morgan Reynolds Inc., 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Kendall, Alan. George Gershwin: A biography. Harrop, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Schwinger, Wolfram. George Gershwin: Eine Biographie. 2nd ed. Schott, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Kendall, Alan. George Gershwin: A biography. Universe Books, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Gershwin, George, Gershwin, George"

1

Schmidt, Christian Martin. "Gershwin, George [eigentl. Gershwine, Jacob]." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_108.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Schmidt, Christian Martin. "Gershwin, George." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_110.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Wyatt, Robert, and John Andrew Johnson. "Ira Gershwin: “Gershwin on Gershwin” (1944)." In The George Gershwin Reader. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195327113.003.0079.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

"GERSHWIN, GEORGE." In Music in the 20th Century (3 Vol Set). Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-170.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

"George Gershwin." In Masterworks of 20th-Century Music. Routledge, 2013. http://dx.doi.org/10.4324/9780203616949-12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Suskin, Steven. "George Gershwin." In Show Tunes. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780195314076.003.0003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

"GEORGE GERSHWIN." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.28.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

"To the memory of Darryl Marcus Wexler." In George Gershwin. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933149-001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

"Chapter One. Gershwin and His Family." In George Gershwin. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933149-004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

"Chapter Three. Gershwin and the New Popular Music." In George Gershwin. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933149-006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!