Stomp and Swerve: American Music Gets Hot, 1843–1924
| Author | : | |
| Rating | : | 4.25 (705 Votes) |
| Asin | : | B005HF4D3S |
| Format Type | : | |
| Number of Pages | : | 548 Pages |
| Publish Date | : | 2013-12-11 |
| Language | : | English |
DESCRIPTION:
From Booklist Hot American music, says Wondrich, has drive and swerve. Drive is the strong rhythmic component that gets the feet stomping. Alan HirschCopyright © American Library Association. Scottish and Irish music influenced minstrel music, just as Afro-Caribbean music influenced the blues and jazz--the acme of hot music. All rights reserved. Much later hot music is preserved on sound recordings, which Wondrich references while discussing major performers and composers (a CD containing some of the music will be released simultaneously with the book). Beginning with the minstrels who played "Negro" music on stage in blackface in a spirit of parody, Wondrich trac
This book brings a forgotten music, hot music, to life by describing how it became the dominant American musichow it outlasted sentimental waltzes and parlor ballads, symphonic marches and Tin Pan Alley novelty numbersand how it became rock ’n’ roll. It wasn’t until the mid-1920s that the full spectrum of this musicblack and white, urban and rural, sophisticated and crudemade it onto records for all to hear. Along the way, it explains how the strange combination of African with Scotch and Irish influences made music in the United States vastly different from other African and Caribbean forms
Bounce! A Customer American music didn't get hot suddenly in the 1950's with the arrival of Rock 'n' Roll. It didn't get sexy when Jazz provided the soundtrack to hi-jinx in the back seat of a Model A Ford in the 1920's. American music, with serendipitous blend of African and Celtic influences, has been scaring church folk and turning good girls bad since the 19th century. David Wondrich, with great wit and careful research, tells the qu. Frustrating and annoying OTS1927 This book was a real disappointment, particularly because it covers some important ground and has, occasionally, some flashes of insight. But it is plagued by such major flaws that I cannot recommend it. The basic premise is outrageously reductive and simplistic, and the author uses this flawed approach as a means to pass judgment sweepingly on all sorts of music and musicians. Underlying his entire argument is the not. For music lovers only! R. Bender If you love music, you'll love this book!
. David Wondrich is the author of Esquire Drinks and writes about music and cocktails for The New York Times, Esquire, and The Village Voice. He lives in Brooklyn, New York