Pub Date : 2021-04-01DOI: 10.1093/OSO/9780190645625.003.0004
Douglas W. Shadle
Although European composers had turned to folksongs for inspiration while writing instrumental pieces in the first half of the nineteenth century, their counterparts in the United States were much slower to adopt the practice. Given the country’s ethnically and racially diverse population, musicians did not reach a consensus about what folk music would be most appropriate to project an American national musical identity in the first place. By the early 1890s, however, the leading critic Henry Krehbiel had begun to argue that Antonín Dvořák would help US composers develop a folk-based style during his tenure as director of the National Conservatory.
{"title":"The National Question","authors":"Douglas W. Shadle","doi":"10.1093/OSO/9780190645625.003.0004","DOIUrl":"https://doi.org/10.1093/OSO/9780190645625.003.0004","url":null,"abstract":"Although European composers had turned to folksongs for inspiration while writing instrumental pieces in the first half of the nineteenth century, their counterparts in the United States were much slower to adopt the practice. Given the country’s ethnically and racially diverse population, musicians did not reach a consensus about what folk music would be most appropriate to project an American national musical identity in the first place. By the early 1890s, however, the leading critic Henry Krehbiel had begun to argue that Antonín Dvořák would help US composers develop a folk-based style during his tenure as director of the National Conservatory.","PeriodicalId":343309,"journal":{"name":"Antonín Dvořák's New World Symphony","volume":"163 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123263980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-01DOI: 10.1093/OSO/9780190645625.003.0008
Douglas W. Shadle
After Dvořák’s eventual departure from the National Conservatory in 1895, the New World Symphony continued to be a flash point in discussions about the relationships between African American and European American music and musicians, particularly the repertoire known as “Negro spirituals.” White American-born composers, such as Henry F. Gilbert and John Powell, continued to complain about lack of representation on concert programs while failing to support their Black counterparts, who leveraged relationships with figures inside and outside the musical world to create new social networks for finding professional success. In the early 1930s, William Dawson and Florence Price became the first Black composers to premiere symphonies drawing musical inspiration from early African American vernacular song and dance.
{"title":"The Spiritual Aftermath","authors":"Douglas W. Shadle","doi":"10.1093/OSO/9780190645625.003.0008","DOIUrl":"https://doi.org/10.1093/OSO/9780190645625.003.0008","url":null,"abstract":"After Dvořák’s eventual departure from the National Conservatory in 1895, the New World Symphony continued to be a flash point in discussions about the relationships between African American and European American music and musicians, particularly the repertoire known as “Negro spirituals.” White American-born composers, such as Henry F. Gilbert and John Powell, continued to complain about lack of representation on concert programs while failing to support their Black counterparts, who leveraged relationships with figures inside and outside the musical world to create new social networks for finding professional success. In the early 1930s, William Dawson and Florence Price became the first Black composers to premiere symphonies drawing musical inspiration from early African American vernacular song and dance.","PeriodicalId":343309,"journal":{"name":"Antonín Dvořák's New World Symphony","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132875829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1093/oso/9780190645625.003.0002
Douglas W. Shadle
Bohemian composer Antonín Dvořák’s music reached American shores in the late 1870s and immediately found public favor. Infused with ethnic Bohemian gestures, Dvořák’s smaller character pieces caused the greatest sensation, but critics also welcomed his symphonies as some of the most promising recent examples of the genre. By the time he arrived on US shores to direct Jeannette Thurber’s National Conservatory in September 1892, Dvořák’s protean style had come to please and disappoint listeners in equal measure. An eager public awaited the sounds of his latest symphony, which premiered in December 1893 and would ultimately change the landscape of American classical music forever.
{"title":"The Symphonic Premiere","authors":"Douglas W. Shadle","doi":"10.1093/oso/9780190645625.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190645625.003.0002","url":null,"abstract":"Bohemian composer Antonín Dvořák’s music reached American shores in the late 1870s and immediately found public favor. Infused with ethnic Bohemian gestures, Dvořák’s smaller character pieces caused the greatest sensation, but critics also welcomed his symphonies as some of the most promising recent examples of the genre. By the time he arrived on US shores to direct Jeannette Thurber’s National Conservatory in September 1892, Dvořák’s protean style had come to please and disappoint listeners in equal measure. An eager public awaited the sounds of his latest symphony, which premiered in December 1893 and would ultimately change the landscape of American classical music forever.","PeriodicalId":343309,"journal":{"name":"Antonín Dvořák's New World Symphony","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121067932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1093/oso/9780190645625.003.0005
Douglas W. Shadle
A small number of US-based composers began experimenting with the use of African American vernacular music as the basis for instrumental works around 1880, arguing that this music formed a truly American folk repertoire. Their works found public favor in the United States and, more importantly, in several European cities in the months leading up to Dvořák’s arrival as director of the National Conservatory. Dvořák’s own position in the debate about American national style was an open question until May 1893, when he revealed his belief in the authentic American identity of Black vernacular music, thus affirming the approach of earlier American composers.
{"title":"The Brewing Storm","authors":"Douglas W. Shadle","doi":"10.1093/oso/9780190645625.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190645625.003.0005","url":null,"abstract":"A small number of US-based composers began experimenting with the use of African American vernacular music as the basis for instrumental works around 1880, arguing that this music formed a truly American folk repertoire. Their works found public favor in the United States and, more importantly, in several European cities in the months leading up to Dvořák’s arrival as director of the National Conservatory. Dvořák’s own position in the debate about American national style was an open question until May 1893, when he revealed his belief in the authentic American identity of Black vernacular music, thus affirming the approach of earlier American composers.","PeriodicalId":343309,"journal":{"name":"Antonín Dvořák's New World Symphony","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125134962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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