By Jeffrey J. Noonan
The Guitar in the US bargains a historical past of the tool from America\'s past due Victorian interval to the Jazz Age. The narrative lines America\'s BMG (banjo, mandolin, and guitar) group, a past due nineteenth-century musical and com-mercial move devoted to introducing those instru-ments into America\'s elite musical institutions. utilizing surviving BMG magazines, the writer information a virtually unknown historical past of the guitar through the movement\'s heyday, tracing the guitar\'s transformation from a cultured parlor device to a mainstay in jazz and renowned track. within the approach, he not just introduces musicians (including quite a few ladies guitarists) who led the move, but in addition examines new recommendations and tools. Chapters ponder the BMG movement\'s effect on jazz and renowned track, using the guitar to advertise attitudes in the direction of ladies and minorities, and the demanding situations international guitarists corresponding to Miguel Llobet and Andres Segovia provided to America\'s musicians. This quantity opens a brand new bankruptcy at the guitar in the United States, contemplating its cultivated previous and documenting how banjoists and mandolinists aligned their tools to it so one can elevate social and cultural status. while, the booklet considers the BMG neighborhood inside America\'s better musical scene, interpreting its efforts as manifestations of this country\'s uneasy coupling of musical artwork and trade. Jeffrey J. Noonan, affiliate professor of song at Southeast Missouri kingdom collage, has played professionally on classical guitar, Renaissance lute, Baroque guitar, and theorbo for over twenty-five years. His articles have seemed in Soundboard and NYlon assessment.
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Extra info for The Guitar in America: Victorian Era to Jazz Age (American Made Music)
But the golden age of the BMG movement had passed. The story of the guitar that follows focuses on that golden age, roughly the half century between 1880 and 1930, and stands on the accounts from - 39 - INTERLUDE: THE BMG MOVEMENT—THE SOURCES the BMG magazines of that era. It makes no pretensions of being a history in the broadest sense, inclusive of all influences, considering all points of view, attentive to all personalities and styles. Rather, it brings to light the values, the characters, and the music of this forgotten generation of guitarists, a troupe of composers, performers, pedagogues, and businesspeople who helped shape the future of America’s relationship to the guitar.
In the course of the magazine’s run, Stewart challenged other manufacturers and publishers to match his standards, encouraged and promoted young players and composers until they crossed him, excoriated apostates who abandoned his mission, aggressively attacked anyone who dared belittle the banjo or his products, and promoted his chosen instrument as equal to (if not, on occasion, superior to) the violin and piano. Stewart utilized the guitar in his promotion of the banjo, presenting it positively when it served his purpose, but just as often belittling it as old-fashioned, dangerously sensual, and low-class.
1 Although dedicated in principle to musical instruments and music-making, the BMG movement—reflecting the values of America’s musical culture—was as devoted to commercial interests, fully participating in the numerous latenineteenth-century developments in America’s approach to both music and business. Among the important commercial changes that played a significant role in the BMG movement were industrialized mass production, newly invented advertising techniques, and a burgeoning magazine publishing industry.
The Guitar in America: Victorian Era to Jazz Age (American Made Music) by Jeffrey J. Noonan