Both types of data were listed in alphabetical order. B) The name and the address of the music venues where they performed (from theaters to public spaces, from public and private auditoriums to cocktail lounges, restaurants and bars, from houses of worship to all other types of gathering place used for musical performances). For every musician we also indicated the instrument and /or role that he or she played. In selecting the musicians to include we limited ourselves to this sole latter criterion. To that end, we collected two types of data: A) the number and the identity of the musicians who, during the period considered, either by profession or simply by artistic vocation, usually performed in public. By contrast, we thought it useful to create a tool that would present in an astute and appropriate way all the early signature elements of this unique artistic/musical and social/urban context so that they might trigger new insights, offer original avenues to be explored. Therefore only with difficulty would any fresh attempt at analysis prove reason for interest. In the last seventy, eighty years every aspect of this movement has been the object of in-depth study, conferences and debates. So much has been said and written about the genesis of the artistic/musical ferment that took place in New York City in the 1930s and ‘50s, a period which is commonly known as “The Golden Age”.
0 kommentar(er)
