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American Music and the Well-Timed Sneer Nothing in the propaganda world is so effective as the sneer. A word less sneer defies quotation, but it does its damage all the same. It hits its target with greater certainty than many a volume of condem nation, and seldom are its motives honorable. The well-timed sneer, sometimes vocal and sometimes silent, has impeded the progress of American music ever since America was so bold as to inaugurate a school of serious music of its own. First, it came from those admirers of European music who were disgruntled to find that Beethoven had not reincarnated in the body of a single American composer, as far as they knew. Later, on up into the pres ent, the sneer has come from—of all things!—certain American composers who, solely to boost their own products, sneer at the music of those of their colleagues who do not agree with them. Since Europeans colonized America, it follows that American cul ture (at least in its beginnings) stemmed from the old world. Our promising students went abroad to study; Europe's trained musi cians came here to teach and to perform. As a natural consequence, some early American composers
Black Sacred Music – Duke University Press
Published: Sep 1, 1992
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