ISBN: 9780870499098

Established in 1935 under the aegis of the Works Progress Administration, the Federal Music Project (FMP) was designed to employ musicians who were hard hit by the economic devastation of… Mehr…

Established in 1935 under the aegis of the Works Progress Administration, the Federal Music Project (FMP) was designed to employ musicians who were hard hit by the economic devastation of the Great Depression. All of This Music Belongs to the Nation is the first book-length study of the FMP and the many paradoxes and conflicts that marked its four-year existence. As Kenneth J. Bindas points out, the FMP leadership was more conservative than that of the sister projects in art, theater, and writing. Its stated aim of "raising" the taste of musicians and citizens alike created a particular problem. Although many unemployed musicians came from the sphere of popular music, such as jazz and Tin Pan Alley, the FMP chose to emphasize "cultured" music, particularly the orchestral works of composers in the European classical tradition. Inevitably, this created tension within the project, as those musicians deemed "popular" received second-class treatment and, in the case of racial and ethnic minorities, were segregated and stereotyped. Despite these troubles, Bindas demonstrates, the FMP succeeded in bringing music to millions of listeners across the country. All of This Music Belongs to the Nation: The Wpa's Federal Music Project and American Society Bindas, Kenneth J., University of Tennessee Press<

ISBN: 9780870499098

Established in 1935 under the aegis of the Works Progress Administration, the Federal Music Project (FMP) was designed to employ musicians who were hard hit by the economic devastation of… Mehr…

Established in 1935 under the aegis of the Works Progress Administration, the Federal Music Project (FMP) was designed to employ musicians who were hard hit by the economic devastation of the Great Depression. All of This Music Belongs to the Nation is the first book-length study of the FMP and the many paradoxes and conflicts that marked its four-year existence. As Kenneth J. Bindas points out, the FMP leadership was more conservative than that of the sister projects in art, theater, and writing. Its stated aim of "raising" the taste of musicians and citizens alike created a particular problem. Although many unemployed musicians came from the sphere of popular music, such as jazz and Tin Pan Alley, the FMP chose to emphasize "cultured" music, particularly the orchestral works of composers in the European classical tradition. Inevitably, this created tension within the project, as those musicians deemed "popular" received second-class treatment and, in the case of racial and ethnic minorities, were segregated and stereotyped. Despite these troubles, Bindas demonstrates, the FMP succeeded in bringing music to millions of listeners across the country. Media > Book<

1996, ISBN: 0870499092

[EAN: 9780870499098], Gebraucht, guter Zustand, [PU: University of Tennessee Press], REFERENCE THEORY COMPOSITION & PERFORMANCE 20TH CENTURY, Music|Reference, This is a former library cop… Mehr…

[EAN: 9780870499098], Gebraucht, guter Zustand, [PU: University of Tennessee Press], REFERENCE THEORY COMPOSITION & PERFORMANCE 20TH CENTURY, Music|Reference, This is a former library copy with library stickers and stamps. 100% of this purchase will support literacy programs through a nonprofit organization! Standard Shipping Only.<

1995, ISBN: 0870499092

Gebundene Ausgabe

[EAN: 9780870499098], [PU: THE UNIVERSITY OF TENNESSEE PRESS, KNOXVILLE, TN], MUSIC, WPA, Jacket

1996, ISBN: 9780870499098

Hardcover book. 164 pages. Published by University of Tennessee Press (1996) Media >