Geoffrey Dean, Sketches, Gustav Mahler, South Dakota Symphony Orchestra
War, Jazz, and The Star Spangled Banner
By Geoffrey Dean
Books with an implied musical “soundtrack” have always interested me, as some of my earlier posts on this blog will attest. So when I came across a new tome by E. Douglas Bomberger titled Making Music American: 1917 and the Transformation of Culture (New York: Oxford University Press, 2018), I knew I had a music-filled read in store. 1917 was the year that jazz made its sensational first appearance in New York City and on records, with the Original Dixieland “Jass” Band’s “Livery Stable Blues.” It was also the year that the US entered World War I, making the presence of music by Wagner, Beethoven, and other German composers on concert programs increasingly controversial and the appearance of jazz on the national scene a timely diversion. The Star Spangled Banner, not yet the official our national anthem, became in 1917 a source of heated debate: should it be played, and if so, where, how, and by whom?
War, Jazz, and The Star Spangled Banner
By Geoffrey Dean
Books with an implied musical “soundtrack” have always interested me, as some of my earlier posts on this blog will attest. So when I came across a new tome by E. Douglas Bomberger titled Making Music American: 1917 and the Transformation of Culture (New York: Oxford University Press, 2018), I knew I had a music-filled read in store. 1917 was the year that jazz made its sensational first appearance in New York City and on records, with the Original Dixieland “Jass” Band’s “Livery Stable Blues.” It was also the year that the US entered World War I, making the presence of music by Wagner, Beethoven, and other German composers on concert programs increasingly controversial and the appearance of jazz on the national scene a timely diversion. The Star Spangled Banner, not yet the official our national anthem, became in 1917 a source of heated debate: should it be played, and if so, where, how, and by whom?