{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/js9h41m35r/manifest","type":"Manifest","label":{"en":["Hoagy and Bix: The Seed of Harvestry"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Rob Bamberger (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2009-05-29 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eJazz historian, the late Richard Sudhalter, suggested that there is a significant vein of effort during the 1920s to “[express] the emergent jazz language in compositional terms.” At the center of this for one community of white jazz musicians was French impressionism – music that used whole tone scales, parallel harmonies and extended chords. While far removed from the blues that are a central characteristic of early jazz, elements of impressionism were nonetheless very present in the jazz ferment. This was especially so for Bix Beiderbecke, one of the most revered cornetists of the 1920s. Beiderbecke was intensely drawn to the music of Claude Debussy and Maurice Ravel. He also greatly admired the composer of the “Adirondack Sketches,” Eastwood Lane, whose music was in turn influenced by Edward MacDowell, composer of “To A Wild Rose.” While spending several weeks in Bloomington, Indiana in the mid-1920s, Bei­derbecke struck up a friendship with Hoagy Carmichael, destined to write such Ameri­can standards as “Star Dust,” “Georgia On My Mind,” “Rockin’ Chair,” and innumerable others. Carmichael’s encounter and subsequent friendship with Beiderbecke would find reflection in some of Carmichael’s music. This presentation traces the cross-pollination between the impressionists, Bix Beiderbecke and Hoagy Carmichael, and how, owing to Beiderbecke’s early death in 1931, his musical vision came to be strongly vested with Carmichael. The presentation will include relevant examples from the 1920s recordings of both men.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eJazz historian, the late Richard Sudhalter, suggested that there is a significant vein of effort during the 1920s to \u0026ldquo;[express] the emergent jazz language in compositional terms.\u0026rdquo; At the center of this for one community of white jazz musicians was French impressionism \u0026ndash; music that used whole tone scales, parallel harmonies and extended chords. While far removed from the blues that are a central characteristic of early jazz, elements of impressionism were nonetheless very present in the jazz ferment. This was especially so for Bix Beiderbecke, one of the most revered cornetists of the 1920s. Beiderbecke was intensely drawn to the music of Claude Debussy and Maurice Ravel. He also greatly admired the composer of the \u0026ldquo;Adirondack Sketches,\u0026rdquo; Eastwood Lane, whose music was in turn influenced by Edward MacDowell, composer of \u0026ldquo;To A Wild Rose.\u0026rdquo; While spending several weeks in Bloomington, Indiana in the mid-1920s, Bei\u0026shy;derbecke struck up a friendship with Hoagy Carmichael, destined to write such Ameri\u0026shy;can standards as \u0026ldquo;Star Dust,\u0026rdquo; \u0026ldquo;Georgia On My Mind,\u0026rdquo; \u0026ldquo;Rockin\u0026rsquo; Chair,\u0026rdquo; and innumerable others. Carmichael\u0026rsquo;s encounter and subsequent friendship with Beiderbecke would find reflection in some of Carmichael\u0026rsquo;s music. This presentation traces the cross-pollination between the impressionists, Bix Beiderbecke and Hoagy Carmichael, and how, owing to Beiderbecke\u0026rsquo;s early death in 1931, his musical vision came to be strongly vested with Carmichael. The presentation will include relevant examples from the 1920s recordings of both men.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128427/file/240016","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2009_Bamberger_audio.mp3"]},"duration":2921.77775,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128427/file/240016/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128427/file/240016/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/016/original/ARSC_conf_2009_Bamberger_audio.mp3?1714689958","type":"Audio","format":"audio/mpeg","duration":2921.77775,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128427/file/240016","metadata":[]}]}],"annotations":[]}]}