- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article reviews the pictorial obituary of Sidney Bechet, which emphasizes youthful epiphanies and international recognition. It first studies Ernest Ansermet's views and theories about jazz and race, and then looks at Bechet's activities during the 1920s and early 1930s. This is followed by a discussion of Bechet's discovery in France at the 1949 festival and his subsequent rise to fame. The critical disputes over the authenticity of Bechet's jazz performances are explored, and an autobiography of Bechet is provided in the final section of the article.
Andy Fry joined the faculty of King's College, London, in 2007, having previously taught at the University of California–San Diego and, as a visiting professor, at Berkeley. His principal research areas are jazz (particularly pre-1950, race, gender, and historiography) and music in twentieth-century France. His publications include “Re-thinking the Revue nègre: Black Musical Theatre in Interwar Paris,” in Western Music and Race, ed. Julie Brown (2007). He is completing a monograph on African American music and musicians in Paris up to 1960.
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