Book contents
- The Cambridge Companion to Gershwin
- Cambridge Companions to Music
- The Cambridge Companion to Gershwin
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Preface
- Acknowledgments
- Part I Historical Context
- Part II Profiles of the Music
- Part III Influence and Reception
- Guide to Further Reading
- Index
- References
Guide to Further Reading
Published online by Cambridge University Press: 02 August 2019
Edited by
Book contents
- The Cambridge Companion to Gershwin
- Cambridge Companions to Music
- The Cambridge Companion to Gershwin
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Preface
- Acknowledgments
- Part I Historical Context
- Part II Profiles of the Music
- Part III Influence and Reception
- Guide to Further Reading
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- The Cambridge Companion to Gershwin , pp. 298 - 300Publisher: Cambridge University PressPrint publication year: 2019
References
Guide to Further Reading
André, Naomi. Black Opera: History, Power, and Engagement (Urbana, IL: University of Illinois Press, 2018).Google Scholar
André, Naomi. “From Otello to Porgy: Blackness, Masculinity, and Morality in Opera,” Bryan, Karen M. and Saylor, Eric (eds.) Blackness in Opera (Urbana, IL: University of Illinois Press, 2012).Google Scholar
Bagatti, Davide. “Music and Medicine: The Tragic Case of Gershwin’s Brain Tumor and the Challenges of Neurosurgery in the First Half of the 20th Century.” World Neurosurgery 85 (January 2016), 298–304.Google Scholar
Bañagale, Ryan Raul. Arranging Gershwin: Rhapsody in Blue and the Creation of an American Icon (Oxford: Oxford University Press, 2011).Google Scholar
Bañagale, Ryan Raul “Rewriting the Narrative One Arrangement at a Time: Duke Ellington and Rhapsody in Blue,” Jazz Perspectives 6/1–2 (2012), 5–27.Google Scholar
Botkin, B.A. “Self-Portraiture and Social Criticism in Negro Folk Song,” Opportunity: A Journal of Negro Life V (February 1927), 38–42.Google Scholar
Brooks, Noel. “A Schillingerian and Schenkerian Approach to George Gershwin’s ‘I Got Rhythm’ Variations,” M.M. thesis, University of Western Ontario (1998).Google Scholar
Clague, Mark. “An American in Paris: A Gershwin Manifesto,” in Clague, Mark (ed.), George Gershwin, An American in Paris: A Tone Poem for Orchestra, The George and Ira Gershwin Critical Edition (Mainz and New York: Schott International/European American Music, 2019).Google Scholar
Crawford, Richard. The American Landscape: The Business of Musicianship from Billings to Gershwin (Berkeley, CA: University of California Press, 2000).Google Scholar
Crawford, Richard. Summertime: George Gershwin’s Life in Music (New York: W.W. Norton, 2019).Google Scholar
Davis, Andrew and Pollack, Howard. “Rotational Form in the Opening Scene of Porgy and Bess,” Journal of the American Musicological Society 60/2 (2007), 373–414.CrossRefGoogle Scholar
Decker, Todd. Music Makes Me: Fred Astaire and Jazz (Berkeley: University of California Press, 2011).Google Scholar
Duke, Vernon Duke. “Gershwin, Schillinger, and Dukelsky: Some Reminiscences,” The Musical Quarterly 33/1 (January 1947).Google Scholar
Ewen, David. A Journey to Greatness: The Life and Music of George Gershwin (New York: Henry Holt, 1956).Google Scholar
Feinstein, Michael. The Gershwins and Me: A Personal History in Twelve Songs (New York: Simon & Schuster, 2012).Google Scholar
Gershwin, George. Introduction to George Gershwin’s Song-book (New York: Simon & Schuster, 1932).Google Scholar
Gershwin, Ira. The George and Ira Gershwin Song Book (New York: Simon & Schuster, 1960).Google Scholar
Gilbert, Steven E. The Music of George Gershwin (New Haven, CT: Yale University Press, 1995).Google Scholar
Goldberg, Isaac. George Gershwin: A Study in American Music (New York: Simon & Schuster, 1931).Google Scholar
Greene, Harlan (ed.), Porgy & Bess: A Charleston Story (Charleston, SC: Home House Press, 2016).Google Scholar
Horowitz, Joseph. “On My Way”: The Untold Story of Rouben Mamoulian, George Gershwin, and Porgy and Bess (New York: W.W. Norton, 2013).Google Scholar
Hutchisson, James M. DuBose Heyward: A Charleston Gentleman and the World of Porgy and Bess (Jackson: University of Mississippi Press, 2000).Google Scholar
Jablonski, Edward and Stewart, Lawrence D., The Gershwin Years (Garden City, NY: Doubleday, 1958).Google Scholar
Kimball, Robert, Simon, Alfred, and Feitler, Bea. The Gershwins (New York: Atheneum, 1973).Google Scholar
Krasker, Tommy. Catalog of the American Musical: Musicals of Irving Berlin, George & Ira Gershwin, Cole Porter, Richard Rodgers & Lorenz Hart (Washington, DC: National Institute for Opera and Musical Theater, 1988).Google Scholar
Maisel, Arthur. “Talent and Technique: Gershwin’s Rhapsody in Blue,” in Cadwallader, Allen (ed.), Trends in Schenkerian Research (New York: Schirmer, 1979), 51–70.Google Scholar
Margolick, David. “Alan Gershwin, Who Claimed a Famous Father, Is Dead at 91,” New York Times (March 7, 2018), A24.Google Scholar
Monod, David. “Disguise, Containment and the Porgy and Bess Revival of 1952–1956,” Journal of American Studies 35 (2001), 275–312.Google Scholar
Nahshon, Edna (ed.), New York’s Yiddish Theater: From the Bowery to Broadway (New York: Columbia University Press, 2016).Google Scholar
Nauert, Paul. “Theory and Practice in Porgy and Bess: The Gershwin-Schillinger Connection,” The Musical Quarterly 78/1 (Spring 1994).Google Scholar
Neimoyer, Susan. “After the Rhapsody: George Gershwin in the Spring of 1924,” Journal of Musicology 31/1 (Winter 2014).CrossRefGoogle Scholar
Neimoyer, Susan. “George Gershwin and Edward Kilenyi, Sr.: A Reevaluation of Gershwin’s Early Musical Education,” The Musical Quarterly 94/1 and 2 (Spring/Summer 2011).Google Scholar
Neimoyer, Susan. “Rhapsody in Blue: The Culmination of George Gershwin’s Musical Education,” Ph.D. dissertation, University of Washington (2003).Google Scholar
Noonan, Ellen. The Strange Career of Porgy and Bess: Race, Culture and America’s Most Famous Opera (Chapel Hill: University of North Carolina Press, 2012).Google Scholar
Oja, Carol J. “Gershwin and the Modernists of the 1920s,” The Musical Quarterly 78/4 (Winter 1994), 646–68.Google Scholar
Oja, Carol J. Making Music Modern: New York in the 1920s (Oxford: Oxford University Press, 2000).Google Scholar
Pollack, Howard. George Gershwin His Life and Work (Berkeley, CA: University of California Press, 2007).CrossRefGoogle Scholar
Reynolds, Christopher A. “Porgy and Bess: ‘An American Wozzeck,’” Journal of the Society for American Music 1/1 (February 2007), 1–28.Google Scholar
Rimler, Walter. George Gershwin: An Intimate Portrait (Urbana and Chicago: University of Illinois Press, 2009).Google Scholar
Rosenberg, Deena. Fascinating Rhythm: The Collaboration of George and Ira Gershwin (Ann Arbor, MI: University of Michigan Press, 1991).Google Scholar
Sandifer, James. Porgy and Bess: An American Voice (Princeton, NJ: Films for the Humanities & Sciences, 1999).Google Scholar
Schiff, David. Gershwin: Rhapsody in Blue (Cambridge: Cambridge University Press, 1997).Google Scholar
Schneider, Wayne. “Gershwin in the Heartland: Critical and Public Reception of the 1934 Leo Reisman Tour,” The Musical Quarterly 94/1–2 (2011).Google Scholar
Schneider, Wayne. (ed.), The Gershwin Style: New Looks at the Music of George Gershwin (New York: Oxford University Press, 1990).Google Scholar
Schwartz, Charles. Gershwin: His Life and Works (Indianapolis, IN: Bobbs-Merrill, 1973).Google Scholar
Suriano, Gregory R. (ed.), Gershwin in His Time: A Biographical Scrapbook, 1919–1937 (New York: Gramercy Books, 1998).Google Scholar
Thompson, Robin. The Gershwins’ Porgy and Bess: A 75th Anniversary Celebration (Milwaukee, WI: Amadeus Press, 2010).Google Scholar
Wierzbicki, James. “The Hollywood Career of Gershwin’s Second Rhapsody,” Journal of the American Musicological Society 60/1 (Spring 2007).Google Scholar
Wodehouse, Artis. “Tracing Gershwin’s Piano Rolls,” in Schneider, Wayne (ed.), The Gershwin Style: New Looks at the Music of George Gershwin (Oxford: Oxford University Press, 1999).Google Scholar
Wyatt, Robert and Andrew Johnson, John (eds.), The George Gershwin Reader (Oxford: Oxford University Press, 2004).Google Scholar