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Music and race: Anton�n Dvor�k the negrophile
Robert Schwartz and independently Jorge Pullin kindly sent me a pretty
interesting article by Joseph Horowitz, an artistic advisor to
orchestras:
New World Symphony and Discord
race and music in Boston and New York at the end of the 19th century.
Czech composer Anton�n Dvor�k was assigned the task to create the
American national music. He was impressed by many things in America
but he decided that the "negro melodies" such as "Swing Low" and "Deep
River" were the "future for American music". He thought that the black
themes would penetrate into classical compositions while jazz became a
completely new genre but his prediction was nontrivial anyway.
In Boston, Dvor�k's opinions were politically incorrect because the
blacks were "not inherently musical" according to many powerful
figures over there. For example, a very influential Harvard professor
argued that blacks and whites were different species. Dvor�k was
labeled a "negrophile". Also, critics in Boston newspapers routinely
and "scientifically" described Dvor�k's and Tchaikovsky's music as
"primitive" and "barbarian". In New York, however, the people who
thought that the blacks were "inherently musical" were stronger and
created a much better environment for Dvor�k.
The New World Symphony back in Vienna
One can see that Anton�n Dvor�k always cared primarily about music and
the pure excitement from it but the environment full of snobs and
political preconceptions influenced him anyway.
The 21st century
In some sense, I feel that during the decade in the U.S., I
encountered less American culture - including jazz - than what we are
normally exposed to in Central Europe. For example, a party on
Thursday was in the style of Chicago of the 1930s, gangsters
blackmailing bankers, shooting, prohibition, jazz, Chicago the musical
(e.g. the Czech version of All That Jazz that I've only known since
they preloaded it on an MP3 player I bought), roulettes, and shooting
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