This book explores a rich cultural hybridity at the heart of transatlantic modernism. Focusing on cubism; jazz; and Josephine Bakers performance in the Danse Sauvage; Sieglinde Lemke uncovers a crucial history of white and black intercultural exchange; a phenomenon until now greatly obscured by a cloak of whiteness. Considering artists and critics such as Picasso; Alain Locke; Nancy Cunard; and Paul Whiteman; in addition to Baker; Lemke documents a potent cultural dialectic in which black artistic expression fertilized white modernism; just as white art forms helped shape the black modernism of Harlem and Paris.Coining the term primitivist modernism to designate the multicultural heritage of this centurys artistic production; Lemke reveals the generative and germinating black cultural Other in the arts. She examines this neglected dimension in full; fascinating detail; blending literary theory; social history; and cultural analysis to document modernisms complex absorption of African culture and art. She details numerous ways in which African and African American forms (visual styles; musical idioms; black dialects) and fantasies (Bakers costume and dance; say) permeated high and mass culture on both sides of the Atlantic. So-called primitive art and high modernism; savage rhythms and European music hall culture; European and African American expressions in jazz; European primitivism and the racial awakenings of African American culture: paired and freshly examined by Lemke; these subjects stand revealed in their true interrelatedness. Insisting on modernisms two-way cultural flow; Lemke demonstrates not only that white modernism owes much of its symbolic capital to the black Other; but that black modernism built itself in part on white Euro-American models.Through superbly nuanced readings of individual texts and images (fifteen striking examples of which are reproduced in this handsome volume); Lemke reforms our understanding of modernism. She shows us; in clear; invigorating fashion; that transatlantic modernism in both its high and popular modes was significantly more diverse than commonly supposed. Students and scholars of modernism; African American studies; and cultural studies; and those with interests in twentieth-century art; dance; music; or literature; will find this book richly rewarding.
#1478902 in eBooks 1998-03-15 1998-03-15File Name: B00CKGTWMO
Review
8 of 8 people found the following review helpful. Great Value; but not Sinatras ArrangementsBy David M. CookThis is a great collection of some great versions of Franks best songs; but they are NOT Franks versions. You might imagine some genius picking out every note from a Sinatra recording; this is more like original music that the arranger had to work with when he arranged for Frank. Its as if they collected Franks best songs and found good versions from other sources.Thats why some reviews are frustrated at what they see as wrong chords. If you want Franks versions; there are wrong chords; entire verses added in; and wrong words all over the place. Thats because Frank and his arrangers took the liberty to change stuff. The books biggest drawback is that it doesnt make that clear up front.So if youre wondering just what that particular bass line is or just what that horn section is doing; this wont satisfy. But if you like most of Sinatras songs and would like to learn a few of them on piano or (if youre really good) guitar; this is for you.0 of 0 people found the following review helpful. Vocals are in the wrong keyBy Novem LinguaeMy vocal coach and I have been working on "Fly Me To The Moon"; so I wanted to get the sheet music for it. I purchased this book. Unfortunately; Fly Me To The Moons sheet music begins with the note Eb5. I know from singing this in vocal class and playing it on piano that Sinatra starts on C4 in his song.Like other reviewers have said; a lot of this vocal music is in the wrong key; so it is not useful to me for vocal practice. I will have to find the music in the correct key somewhere else.0 of 0 people found the following review helpful. This is a great anthology of a lot of Frank Sinatra hitsBy Sherry NastavThis is a great anthology of a lot of Frank Sinatra hits. They arrangements are piano/vocal/guitar but are nice enough to be played as solo pieces. I bought the book because I play piano in a country club for fine dining and someone asked for Sinatra songs; so I found this book at the music store and then ordered it online. Since Sinatra recorded just about every popular song; I figured I should add more of his songs. There is a lot to choose from so I think any Sinatra fan would be pleased. There is a good variation of difficulty; but I feel a moderately advanced player wouldnt have any problem with any of the songs.