{"title":"Cross-Genre Synthesis","authors":"S. A. Crist","doi":"10.1093/oso/9780190217716.003.0006","DOIUrl":null,"url":null,"abstract":"The story of Time Out involves the surprising juxtaposition of seemingly disparate elements and an artistic vision that encompasses musical cultures from around the world. The present chapter unfolds three case studies that illustrate Dave Brubeck’s liberal attitude toward many different kinds of music and his desire to invite their influence into his work as a composer and an improviser. It also demonstrates Brubeck’s skill in bringing together aspects of classical and world music with jazz, to produce a coherent artistic statement. First, the three strands of “Blue Rondo à la Turk” (world music, classical, blues) are examined individually. The chapter then proceeds to discussion of the origins of “Watusi Drums” in a field recording of African drumming, and its transformation into “Pick Up Sticks.” The last vignette considers Brubeck’s quotation from Shostakovich’s Fifth Symphony in a version of “Take Five” that was recorded live in Moscow in 1987.","PeriodicalId":115971,"journal":{"name":"Dave Brubeck's Time Out","volume":"1969 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Dave Brubeck's Time Out","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190217716.003.0006","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The story of Time Out involves the surprising juxtaposition of seemingly disparate elements and an artistic vision that encompasses musical cultures from around the world. The present chapter unfolds three case studies that illustrate Dave Brubeck’s liberal attitude toward many different kinds of music and his desire to invite their influence into his work as a composer and an improviser. It also demonstrates Brubeck’s skill in bringing together aspects of classical and world music with jazz, to produce a coherent artistic statement. First, the three strands of “Blue Rondo à la Turk” (world music, classical, blues) are examined individually. The chapter then proceeds to discussion of the origins of “Watusi Drums” in a field recording of African drumming, and its transformation into “Pick Up Sticks.” The last vignette considers Brubeck’s quotation from Shostakovich’s Fifth Symphony in a version of “Take Five” that was recorded live in Moscow in 1987.
《Time Out》的故事包含了看似不相干的元素和包含世界各地音乐文化的艺术视野的惊人并置。本章展开了三个案例研究,说明了戴夫·布鲁贝克对许多不同类型的音乐的自由态度,以及他作为作曲家和即兴演奏家邀请他们的影响到他的工作的愿望。它还展示了布鲁贝克将古典音乐和世界音乐与爵士乐结合在一起的技巧,以产生连贯的艺术陈述。首先,“Blue Rondo la Turk”(世界音乐,古典音乐,蓝调音乐)的三个部分被单独研究。本章接着讨论了“Watusi Drums”在非洲击鼓现场录音中的起源,以及它转变为“Pick Up Sticks”的过程。最后一个小插曲引用了布鲁贝克1987年在莫斯科现场录制的肖斯塔科维奇第五交响曲中的“Take Five”版本。