By Gunther Schuller
This choice of writings via Gunther Schuller--the first composer to be provided the Elise L. Stoeger Composer's Chair of the Chamber Society of Lincoln Center--provides a fabulous advent to the fellow and his outstanding diversity of musical adventure, flavor, and studying. partially I, "Jazz and the 3rd Stream," Schuller bargains his reflections on jazz, insightful items on such figures as Duke Ellington, Cecil Taylor, and Sonny Rollins, and a number of other essays on "the 3rd stream," the style the place jazz and classical tune intersect. half II, "Music functionality and modern Music," comprises articles at the paintings of carrying out, the way forward for opera, the query of a brand new classicism, and Schuller's personal techniques on his debatable opera The Visitation. the ultimate part, "Music Aesthetics and Education," offers Schuller's reflections on such issues as shape, constitution, and image in track; the necessity for broadening the viewers for caliber track; and his imaginative and prescient of the appropriate conservatory and the entire musician.
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Extra resources for Musings: The Musical Worlds of Gunther Schuller (Oxford Paperbacks)
Thus he has almost always fallen between the proverbial two stools. Through his Clef and Tempo Club leadership, however, he was the first to bring prestige and some degree of professional order to Negro musicians' lives in New York. Moreover, he established his "symphony" orchestras without compromising the essential character of Negro music. He was remarkably lucid and unequivocal on this question: "We colored people have our own music, that is the product of our souls. It's been created by the sufferings and miseries of our race.
Above all, the over-all form of the piece is a direct natural product of its own tonal material, giving the whole a feeling of Tightness and completeness which marks the work of art. Now this high degree of integration—which should appeal to anyone admiring order and logic—is considered by many jazz musicians to be too inhibiting. They claim it limits their "freedom of expression" and they consider such music outside the realm of jazz. There is violent disagreement on this point—not without reason.
Charters and Leonard Kunstadt, ]azz: A History of the New York Scene, 1962). When Europe turned from this "symphony music" to a frankly more popular dance music (in association with the Castles), he was making a decision in response to a dilemma which Negro musicians had always faced (and still do to some extent today): trained as a "serious" musician, should he pursue a career in "classical" music, in the process compromising or abdicating his Afro-American heritage and risking the disfavor of the public by playing music that Negroes were not expected to touch; or should he turn to a career as a "popular entertainer," in accordance with the role the public expected Negro musicians to perform.