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Arranging Gershwin: “Rhapsody in Blue” and the Creation of an American Icon. By Ryan Raul Bañagale . New York: Oxford University Press, 2014.
Published online by Cambridge University Press: 16 May 2017
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- Book Review
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- Copyright © The Society for American Music 2017
References
1 Schiff, David, Gershwin: “Rhapsody in Blue” (Cambridge: Cambridge University Press, 1997)CrossRefGoogle Scholar.
2 Jeffrey Magee argued that excluding “Blue Skies” from a list of Henderson's compositions was “akin to omitting the Diabelli Variations from an article on Beethoven because the original tune was composed by someone else.” Magee, Jeffrey, “Fletcher Henderson, Composer: A Counter-Entry to the International Dictionary of Black Composers,” Black Music Research Journal 19, no. 1 (1999): 67 CrossRefGoogle Scholar.
3 Goldberg, Isaac, George Gershwin: A Study in American Music (New York: Simon and Schuster, 1931)Google Scholar.
4 Bernstein, Leonard, “Why Don't You Run Upstairs and Write a Nice Gershwin Tune?” in The Joy of Music (New York: Simon and Schuster, 1959)Google Scholar.
5 Bernstein, Leonard, “The Absorption of Race Elements into American Music,” in Findings (New York: Doubleday, 1982), 75 Google ScholarPubMed. For a discussion of Bernstein's thesis and the early stages of what would remain an unwavering critical assessment of Gershwin, see Block, Geoffrey, “Bernstein's Senior Thesis at Harvard: The Roots of a Lifelong Search to Discover an American Identity,” College Music Symposium 48 (2008): 52–68 Google Scholar.
6 Bernstein, “The Absorption of Race Elements,” 64.
7 Bernstein, Leonard, “Jazz in Serious Music,” in The Infinite Variety of Music (New York: Simon and Schuster, 1966), 60 Google Scholar.