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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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.

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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

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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.

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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

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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.

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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

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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.

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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

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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.

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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

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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.

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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

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7

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

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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.

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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.

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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.

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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

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11

Block, Geoffrey, and Wayne Schneider. "The Gershwin Style: New Looks at the Music of George Gershwin." American Music 19, no. 4 (2001): 476. http://dx.doi.org/10.2307/3052425.

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12

Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.

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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for t

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13

Starr, Larry. "George Gershwin: A New Biography (review)." Notes 61, no. 1 (2004): 116–19. http://dx.doi.org/10.1353/not.2004.0119.

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14

Neimoyer, S. "George Gershwin and Edward Kilenyi, Sr.: A Reevaluation of Gershwin's Early Musical Education." Musical Quarterly 94, no. 1-2 (2011): 9–62. http://dx.doi.org/10.1093/musqtl/gdr003.

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15

Bordman, Gerald, Deena Rosenberg, and Hollis Alpert. "Fascinating Rhythm: The Collaboration of George and Ira Gershwin." American Music 11, no. 4 (1993): 497. http://dx.doi.org/10.2307/3052545.

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16

Knight, Ellen. "Charles Martin Loeffler and George Gershwin: A Forgotten Friendship." American Music 3, no. 4 (1985): 452. http://dx.doi.org/10.2307/3051831.

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17

Browne, Ray B. "George Gershwin: His Life and Work by Howard Pollack." Journal of American Culture 30, no. 2 (2007): 244–45. http://dx.doi.org/10.1111/j.1542-734x.2007.00526.x.

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18

Groen, Rob J. M., and Mary Ellen Marmaduke-Dandy. "George Gershwin and his brain tumour—the continuing story." Acta Neurochirurgica 157, no. 8 (2015): 1389–90. http://dx.doi.org/10.1007/s00701-015-2430-8.

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19

Moore, James Ross. "The Gershwins in Britain." New Theatre Quarterly 10, no. 37 (1994): 33–48. http://dx.doi.org/10.1017/s0266464x00000075.

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Overwhelmingly, the British reputation of George Gershwin is as a ‘serious’ composer: but this is liable to obscure not only the contributions he and his brother Ira made to the popular music theatre in Britain, but also, conversely, the British influences upon this seemingly all-American pair. George was profoundly influenced by that pre-eminent American Anglophile of his time, Jerome Kern, while British influences upon the semi-scholarly Ira extended far beyond W. S. Gilbert and P. G. Wodehouse. After ‘Swanee’ swept Britain in 1920, and George had honed his art and craft by writing the score

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20

Block, Geoffrey, and Joan Peyser. "The Memory of All That: The Life of George Gershwin." Notes 51, no. 1 (1994): 195. http://dx.doi.org/10.2307/899231.

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21

Wyatt, Robert. "The Seven Jazz Preludes of George Gershwin: A Historical Narrative." American Music 7, no. 1 (1989): 68. http://dx.doi.org/10.2307/3052050.

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22

Leffert, Mark. "The Psychoanalysis and Death of George Gershwin: An American Tragedy." Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 39, no. 3 (2011): 421–52. http://dx.doi.org/10.1521/jaap.2011.39.3.421.

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23

RAPPORT, EVAN. "Bill Finegan's Gershwin Arrangements and the American Concept of Hybridity." Journal of the Society for American Music 2, no. 4 (2008): 507–30. http://dx.doi.org/10.1017/s1752196308080152.

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AbstractBill Finegan's arrangements of George Gershwin's Rhapsody in Blue for the Glenn Miller Orchestra in 1942 and of Concerto in F for the Sauter-Finegan Orchestra in 1952 provide a basis for interpreting Gershwin's compositions. Finegan's treatments suggest that techniques central to popular forms were foundational to Gershwin's style in these pieces. Furthermore, Gershwin's and Finegan's works shed light on the concept of hybridity in the United States, especially as it concerns the label of “symphonic jazz” or “concert jazz” and ideas about race. Hybrid terms such as “symphonic jazz” man

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24

Rapport, E. "The George Gershwin Reader. Ed. by Robert Wyatt and John Andrew Johnson." Music and Letters 91, no. 1 (2010): 128–30. http://dx.doi.org/10.1093/ml/gcp045.

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25

Bañagale, Ryan Raul. "George Gershwin: His Life and Work. By Howard Pollack. Berkeley: University of California Press, 2007." Journal of the Society for American Music 3, no. 3 (2009): 370–74. http://dx.doi.org/10.1017/s1752196309990034.

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26

Pomostowski, Piotr. "Between high culture and popular culture. The music of George Gershwin in Manhattan by Woody Allen." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 12, no. 21 (2013): 243. http://dx.doi.org/10.14746/i.2013.21.18.

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27

Warfield, Scott. "“On My Way”: The Untold Story of Rouben Mamoulian, George Gershwin, and Porgy and Bess by Joseph Horowitz." Notes 71, no. 4 (2015): 697–99. http://dx.doi.org/10.1353/not.2015.0067.

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28

Gasenzer, Elena, and Edmund A. M. Neugebauer. "George Gershwin A case of new ways in neurosurgery as well as in the history of western music." Acta Neurochirurgica 156, no. 6 (2014): 1251–58. http://dx.doi.org/10.1007/s00701-014-2045-5.

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29

Stempel, Larry, Tommy Krasker, and Robert Kimball. "Catalog of the American Musical: Musicals of Irving Berlin, George and Ira Gershwin, Cole Porter, Richard Rodgers, and Lorenz Hart." American Music 8, no. 3 (1990): 363. http://dx.doi.org/10.2307/3052103.

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30

Furduy, Yulia, and Marharyta Husieva. "FEMALE IMAGES IN OPERA CREATIVITY OF THE AMERICAN COMPOSERS." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 70–81. http://dx.doi.org/10.33287/222006.

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The purpose of this article is to analyze and understand the interpretation of female images in the works of Opera composer’s national American school. One of the reasons, which prompted the author to dive into the problem and answers Opera performances of American composers such as K. Floyd, John. K. Menotti, J. Gershwin. Methods. In achieving this goal, applied the following research methods a namely the source, comparison, systematization, analysis, generalization of the research problem, used many specialized works on the theory and history of culture. Scientific novelty of the work is tha

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31

Starr, Larry. "George Gershwin, Complete Music for Piano & Orchestra. Anne-Marie McDermott, piano; Dallas Symphony Orchestra; Justin Brown, conductor. Bridge CD 9252. 2008." Journal of the Society for American Music 6, no. 1 (2012): 135–37. http://dx.doi.org/10.1017/s1752196311000484.

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32

Gasenzer, E. R., and E. A. M. Neugebauer. "Reply letter to the editor: the continuing story of George Gershwin and his brain tumor—would the outcome have been different today?" Acta Neurochirurgica 157, no. 12 (2015): 2229–30. http://dx.doi.org/10.1007/s00701-015-2586-2.

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33

Bellemare, Luc. "George et Ira Gershwin. 2000. Pardon My English: Vocal Score. Édité par Steven D. Bowen. Paroles et musique de George et Ira Gershwin. Livret de Herbert Fields et Morrie Ryskind. Miami, Floride : Warner Bros Music Corp. xxiii, 357 p. ISBN 0-7692-9201-1, ISBN 978-0-7692-9201-4 (couverture rigide)." Intersections: Canadian Journal of Music 28, no. 1 (2007): 187. http://dx.doi.org/10.7202/019298ar.

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34

MAGEE, JEFFREY. "“Everybody Step”: Irving Berlin, Jazz, and Broadway in the 1920s." Journal of the American Musicological Society 59, no. 3 (2006): 697–732. http://dx.doi.org/10.1525/jams.2006.59.3.697.

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Abstract In his four Music Box Revues (1921–24), Irving Berlin introduced a series of songs that many construed as jazz. That view has not prevailed, but the jazz label becomes more intelligible through efforts to restore its original milieu, including the songs' distinctive musical and linguistic elements, their theatrical context, and the cultural commentary surrounding Berlin and his work in that period. At a time when the term jazz had only recently entered public discourse, and when its meaning, content, and value remained in flux, Berlin deployed a variety of ragtime and blues figures th

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35

Harbec, Jacinthe. "Within the Quota de Cole Porter et Charles Koechlin : la francisation du jazz américain." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (2017): 39–50. http://dx.doi.org/10.7202/1039611ar.

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Créé à Paris le 23 octobre 1923 par les Ballets suédois de Rolf de Maré, Within the Quota a été commandé en vue de la tournée américaine prévue pour le mois suivant. Ayant comme toile de fond les péripéties d’un immigrant suédois arrivant à New York, le ballet se déroule sur une musique jazz composée par Cole Porter et orchestrée par Charles Koechlin. Or, lors de la représentation new-yorkaise en novembre 1923, F. D. Perkins du New York Tribune affirme que le jazz de Porter contient plus de traces stylistiques de Darius Milhaud que celles de George Gershwin. Installé à Paris depuis 1919, Porte

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36

Kunkel, Liselotte. "Akkordstrukturen in George Gershwins Porgy and Bess." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 9, no. 1 (2012): 113–43. http://dx.doi.org/10.31751/658.

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37

Mezaki, Takahiro. "George Gershwin's death and Duret haemorrhage." Lancet 390, no. 10095 (2017): 646. http://dx.doi.org/10.1016/s0140-6736(17)31623-9.

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38

Sloop, Gregory D. "What Caused George Gershwin's Untimely Death?" Journal of Medical Biography 9, no. 1 (2001): 28–30. http://dx.doi.org/10.1177/096777200100900109.

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39

Shirley, Wayne D. "Scoring the Concerto in F: George Gershwin's First Orchestration." American Music 3, no. 3 (1985): 277. http://dx.doi.org/10.2307/3051471.

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40

Weber, Katharine. "George Gershwin’s Self-Portrait in the Mirror with My Mother." American Imago 72, no. 4 (2015): 335–53. http://dx.doi.org/10.1353/aim.2015.0024.

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41

Nakayama, Yoshiko. "Practical Pediatric Gastrointestinal Endoscopy - By George Gershman and Marvin Ament." Helicobacter 12, no. 5 (2007): 579–80. http://dx.doi.org/10.1111/j.1523-5378.2007.00544.x.

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42

Kurath, Gertrude Prokosch, and Joann W. Kealiinohomoku. "George Gershwin's Concerto in F at the Yale School of Drama." Dance Research Journal 20, no. 1 (1988): 43. http://dx.doi.org/10.2307/1478816.

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43

Brooks, Daphne A. "“A Woman Is a Sometime Thing”: (Re)Covering Black Womanhood in Porgy and Bess." Daedalus 150, no. 01 (2020): 98–117. http://dx.doi.org/10.1162/daed_a_01836.

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This essay reexamines the legendary opera-musical Porgy and Bess by first tending to its origins in the dual phenomenon of early 1920s racialized sonic experimentation and the Southern literary conceits of DuBose Heyward, author of the 1925 novel Porgy on which the theater production was based. It traces the ways in which Heyward and George Gershwin's undertheorized fascination with “the vice of Black womanhood” effectively shaped the form and the content of a work often referred to as “America's most famous opera,” and it ultimately considers the ways that Black women artists navigated, compl

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44

DAVIS, ANDREW, and HOWARD POLLACK. "Rotational Form in the Opening Scene of Gershwin's Porgy and Bess." Journal of the American Musicological Society 60, no. 2 (2007): 373–414. http://dx.doi.org/10.1525/jams.2007.60.2.373.

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Although George Gershwin's Porgy and Bess has the reputation of being casually constructed and amenable to cuts, a close look at the unexpurgated opera—including its first scene, the focus of this essay—reveals a through-composed work of considerable architectural complexity. Specifically, the opening scene may be understood as a rotational form—a large-scale organizational strategy in which thematic materials are restated cyclically—exhibiting teleological genesis—a procedure by which the form leads the listener gradually toward a goal-point or climax. In this particular case, two alternating

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45

Déguernel, Ken, Emmanuel Vincent, Jérôme Nika, Gérard Assayag, and Kamel Smaïli. "Learning of Hierarchical Temporal Structures for Guided Improvisation." Computer Music Journal 43, no. 2-3 (2020): 109–24. http://dx.doi.org/10.1162/comj_a_00521.

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This article focuses on learning the hierarchical structure of what we call a “temporal scenario” (for instance, a chord progression) to perform automatic improvisation consistently over several different time scales. We first present a way to represent hierarchical structures with a phrase structure grammar. Such a grammar enables us to analyze a scenario at several levels of organization, creating a “multilevel scenario.” We then develop a method to automatically induce this grammar from a corpus, based on sequence selection with mutual information. We applied this method to a corpus of tran

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46

Kumar, Prarthana. "Multisensory Marketing: Creating New Sustainability Perspective in Hospitality Sector." Atna - Journal of Tourism Studies 8, no. 1 (2013): 43–55. http://dx.doi.org/10.12727/ajts.9.4.

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Synchronic studies in marketing propose that sensory stimulus, like colour, lighting effects, backdrop music, ambient scents or upholstery‘s texture, affect consumers‘ evaluation of the milieu, the wares presented, and affect consumer behavior (e.g., approximate amount spent, time spent at a store). A Customer is frequently attracted towards a brand based on its sensory experience. In toto, the unexpurgated world is experienced through multiple senses. (Lindstrom & Kotler, 2005). Ingenious brands are discovering means to captivate the entire consumer senses to fortify their brand experienc

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47

Auld, J., E. M. Berry, A. El-Sobky, et al. "Bruce Auld David Gershon Berry James William Birch Jill Hargreaves Joseph Jacobs John Ivor Pulsford James Harold William Rodgers George Herbert Ashby Simmons Gita Stephen John Low Steven Henry Winsley-Stolz." BMJ 323, no. 7310 (2001): 456. http://dx.doi.org/10.1136/bmj.323.7310.456.

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48

"George Gershwin." Choice Reviews Online 48, no. 11 (2011): 48–6194. http://dx.doi.org/10.5860/choice.48-6194.

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49

"George & Ira Gershwin." Choice Reviews Online 41, no. 05 (2004): 41–2706. http://dx.doi.org/10.5860/choice.41-2706.

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50

"George Gershwin: a bio-bibliography." Choice Reviews Online 38, no. 01 (2000): 38–0013. http://dx.doi.org/10.5860/choice.38-0013.

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