By Robert Crunden
During this publication Robert Crunden places the "jazz" again within the Jazz Age. Jazz was once America's maximum contribution to the Modernist circulation, but it truly is a lot neglected. once we pay attention the time period "Jazz Age," we conjure the ghosts of Fitzgerald, Hemingway, and Eliot, now not Jelly Roll Morton, Louis Armstrong, Ethel Waters, George Gershwin, and Duke Ellington. with a purpose to right this imbalance, Crunden re-introduces us to those musical luminaries who gave the period its identify as he strains the early historical past of jazz from New Orleans to Chicago to ny. whereas Crunden emphasizes tune over literature and the visible arts, he by no means fails to map the complicated cross-currents of literature that handed among jazz musicians and their "Lost new release" friends, a veritable competition of the glittering personalities of the day-James Joyce, Alfred Stieglitz, Georgia O'Keeffe, Paul Strand, John Dos Passos, Langston Hughes, Gertrude Stein.
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Extra info for Body And Soul: The Making Of American Modernism
Sample text
By 1915, the modernist Marin was beginning to emerge, and he was soon the great purveyor of the way the eye perceived movement. He gave his viewers "his impressions of three-dimensional movements of objects caught by the swiftly traveling eye. " 29 in Rosenfeld had been writing fiction since his college days and continued to do so throughout the 1920s. He had only limited success and published only a small portion of the result. But the time expended was not wasted, for it helped shape his insights into the work of friends, and then of other writers, usually modernists.
40 IV By 1926, Rosenfeld's accumulated frustrations as critic were coming to a head. Tired of writing down to editors and readers, he tapered off as a critic to continue with his fiction and to plan a new yearbook of American writing. Working closely with Lewis Mumford and Alfred Kreymborg, he soon accumulated enough material for the first American Caravan. He then departed the East, to visit Sherwood Anderson in Virginia before heading for Santa Fe and the Southwest. One phase of his life was clearly ending, although the Caravan continued to spread the work of the remnants of the 291 circle.
Even a half-century after his death, Schoenberg remains problematic for scholars, performers, and audiences. Rosenfeld handled him gingerly, as if he were an exotic parrot likely to bite if stroked. Rosenfeld began his first extended treatment of Schoenberg by labeling him "the great troubling presence of modern mu- BODY AND SOUL 14 sic, . . " Such works as the Five Orchestral Pieces were neither the music of the past nor the music of the future. "They belong rather more to the sort of music that has no more relation with yesteryear than it has with this or next.