{"title":"“哈莱姆通风井”:一个真正的纲领性作品?","authors":"Edward Green","doi":"10.14713/JJS.V7I1.9","DOIUrl":null,"url":null,"abstract":"In 1944, Duke Ellington told a writer from The New Yorker that his composition “Harlem Air Shaft,” recorded four years earlier, was inspired by the myriad sounds heard in the air shaft of a Harlem apartment building (“You hear fights, you smell dinner, you hear people making love…”). Many scholars have contended that Ellington invented this “storyline” after the composition was written. This article addresses the authenticity of “Harlem Air Shaft” as programmatic music. The author finds ample evidence—from unpublished manuscripts, unissued radio broadcasts, analysis of arranging devices and compositional design, and other Ellington testimony—that Ellington did indeed have the sounds and smells of a Harlem air shaft in mind as he wrote the composition.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2011-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"19","resultStr":"{\"title\":\"\\\"Harlem Air Shaft\\\": A True Programmatic Composition?\",\"authors\":\"Edward Green\",\"doi\":\"10.14713/JJS.V7I1.9\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In 1944, Duke Ellington told a writer from The New Yorker that his composition “Harlem Air Shaft,” recorded four years earlier, was inspired by the myriad sounds heard in the air shaft of a Harlem apartment building (“You hear fights, you smell dinner, you hear people making love…”). Many scholars have contended that Ellington invented this “storyline” after the composition was written. This article addresses the authenticity of “Harlem Air Shaft” as programmatic music. The author finds ample evidence—from unpublished manuscripts, unissued radio broadcasts, analysis of arranging devices and compositional design, and other Ellington testimony—that Ellington did indeed have the sounds and smells of a Harlem air shaft in mind as he wrote the composition.\",\"PeriodicalId\":331183,\"journal\":{\"name\":\"Journal of Jazz Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2011-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"19\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Jazz Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.14713/JJS.V7I1.9\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Jazz Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14713/JJS.V7I1.9","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 19
摘要
1944年,艾灵顿公爵(Duke Ellington)告诉《纽约客》(New Yorker)的一位作家,他四年前创作的《哈莱姆通风井》(Harlem Air Shaft)的灵感来自哈莱姆公寓楼通风井里的无数声音(“你听到打架的声音,闻到晚餐的味道,听到人们做爱的声音……”)。许多学者认为,这是艾灵顿在写完这篇文章后发明的“故事情节”。这篇文章讨论了“哈莱姆空气井”作为节目音乐的真实性。作者从未发表的手稿、未发行的广播、对编曲装置和作曲设计的分析,以及艾灵顿的其他证词中找到了充足的证据,证明艾灵顿在创作这首曲子时,脑海中确实有哈莱姆通风井的声音和气味。
"Harlem Air Shaft": A True Programmatic Composition?
In 1944, Duke Ellington told a writer from The New Yorker that his composition “Harlem Air Shaft,” recorded four years earlier, was inspired by the myriad sounds heard in the air shaft of a Harlem apartment building (“You hear fights, you smell dinner, you hear people making love…”). Many scholars have contended that Ellington invented this “storyline” after the composition was written. This article addresses the authenticity of “Harlem Air Shaft” as programmatic music. The author finds ample evidence—from unpublished manuscripts, unissued radio broadcasts, analysis of arranging devices and compositional design, and other Ellington testimony—that Ellington did indeed have the sounds and smells of a Harlem air shaft in mind as he wrote the composition.