Fletcher Henderson, Composer: A Counter-Entry to the "International Dictionary of Black Composers"

Magee, Jeffrey

doi:10.2307/779274

Cited by 3 publications

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“…In distinction to this notion of the classical composer are composers associated with jazz, who incorporate the improvisational contributions of individual players in their works, and arrangers, working with material originally composed by others. For more on the hierarchical distinctions between “composition” and “arrangement,” and the implications for describing the activities of individuals associated with jazz and African American practices, see Jeffrey Magee, “Fletcher Henderson, Composer: A Counter-Entry to the International Dictionary of Black Composers,” Black Music Research Journal 19/1 (Spring 1999): 61–70.…”

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confidence: 99%

Bill Finegan's Gershwin Arrangements and the American Concept of Hybridity

Rapport¹

2008

J Soc American Mus

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Bill 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” manage to challenge musical and social categories while simultaneously reinforcing them.

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confidence: 99%