By Larry Birnbaum
A vital paintings for rock fanatics and students, ahead of Elvis: The Prehistory of Rock 'n' Roll surveys the origins of rock 'n' roll from the minstrel period to the emergence of invoice Haley and Elvis Presley. in contrast to different histories of rock, prior to Elvis deals a miles broader and deeper research of the affects on rock song. Dispelling universal misconceptions, it examines rock's origins in hokum songs and big-band boogies in addition to Delta blues, detailing the embody by way of white artists of African-American kinds lengthy earlier than rock 'n' roll seemed. This certain research levels everywhere, highlighting not just the contributions of imprecise yet key precursors like Hardrock Gunter and Sam Theard but in addition the impact of megastar performers like Gene Autry and Ella Fitzgerald.
Too usually, rock historians deal with the genesis of rock 'n' roll as a bolt from the blue, an in a single day revolution provoked via the tasteless pop song that instantly preceded it and created throughout the white appropriation of song until eventually then performed simply through and for black audiences. In ahead of Elvis, Birnbaum daringly argues a extra complex heritage and rock's evolution from a heady mixture of ragtime, boogie-woogie, swing, kingdom track, mainstream pop, and rhythm-and-blues—a melange that encouraged each other alongside the way in which, from the absorption of blues and boogies into jazz and pa to the combination of state and Caribbean track into rhythm-and-blues.
Written in a simple type, earlier than Elvis offers a daring argument approximately rock's origins and required analyzing for lovers and students of rock 'n' roll heritage.
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Additional info for Before Elvis: The Prehistory of Rock 'n' Roll
Niemals überschreitet dabei der Komponist die ihm vorgesteckten Grenzen des musikalischen Erzählers, ob er auch als Seelenmaler, wie Beethoven in seiner grossen Leonoren-Ouvertüre, den Lyriker und Dramatiker mit dem epischen Dichter vereinigt’ (Brahms, vol. I, 198). Note here that the combination of epic/lyric/dramatic as a modern whole is a romantic cliché (see John Daverio, Nineteenth Century Music and the German Romantic Ideology (New York: Schirmer Books, 1993), esp. 143–4). Mies sees the ending as following the impulse of instrumental music to round itself off, and he thus claims it is not ‘programme music’ in one sense.
89 (Mies, ‘Herders Edward-Ballad’, 232). See Goethe, West-östlicher Divan, Johann Wolfgang Goethe Sämtliche Werke, Abt. I, vol. III/i, ed. Hendrik Birus (Frankfurt: Deutscher Klassiker Verlag, 1994), 206–8. Nineteenth-century literary and musical theorists often outlined teleological visions of how different genres might synthesize these basic forms into a modern or romantic whole. Kalbeck’s description should be seen in this light. 31 32 mat thew gelbart 37 Evans, writing around the same time as Kalbeck, claimed that, unlike in Chopin, in Brahms’s ballades the pianist is ‘not a person to be even thought of’, and that Op.
10, no. 4 was the least successful because the figurations make the performer ‘intrude’, where the other three were based on the facts of the narrative (Evans, Pianoforte Works of Johannes Brahms, 118). 38 Meanwhile, in Op. 10, no. 3, when the A section returns (m. 93) it is pianissimo instead of forte, and it reaches its triple-piano ending without ever regaining its energy from its first presentation. The entire reprise thus seems like a spectral transformation of the dramatic opening, a postlude to the implied action.