Flèche d’Or by Django Reinhardt: why was it not heard?
Autor(a) principal: | |
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Data de Publicação: | 2014 |
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Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Per Musi |
Texto Completo: | https://periodicos.ufmg.br/index.php/permusi/article/view/38493 |
Resumo: | This article presents a criticism on historic aspects of the environment around the session of the tune Flèche d’Or by Django Reinhardt, and how critics considered the French musician at his time, both in America and Europe. After the demonstration that this piece is a true earlier example of what was considered the flame of the so called “modal jazz” with Miles Davis, the question takes place: Why was it not heard? |
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Flèche d’Or by Django Reinhardt: why was it not heard?Flèche d'Or de Django Reinhardt: por qué ¿no se escuchó?Flèche d’Or de Django Reinhardt: porquê não foi ouvida?Django Reinhardt and Miles Davis;History of bebop and modal jazzGuitar of Django ReinhardtModal jazz and bebop in FranceViolão de Django Reinhardt e Miles DavisHistória do jazz modal e bebopViolão de Django ReinhardtJazz modal e bebop na FrançaLa guitarra de Django Reinhardt y Miles DavisHistoria del bebop y del jazz modalLa guitarra de Django ReinhardtEl jazz modal y el bebop en FranciaThis article presents a criticism on historic aspects of the environment around the session of the tune Flèche d’Or by Django Reinhardt, and how critics considered the French musician at his time, both in America and Europe. After the demonstration that this piece is a true earlier example of what was considered the flame of the so called “modal jazz” with Miles Davis, the question takes place: Why was it not heard?Este artículo presenta una revisión de las circunstancias históricas en las que la canción Flèche d'Or de Django Reinhardt, y cómo el músico francés era visto por los críticos de la época, en Estados Unidos y Europa. A partir de la caracterización de esta canción como un claro ejemplo temprano de lo que se ha considerado del jazz modal en Miles Davis, surge la pregunta: ¿por qué no se escuchó?Este artigo apresenta uma revisão sobre aspectos históricos das circunstâncias em que foi gravada a música Flèche d’Or de Django Reinhardt, e como o músico francês era visto pelos críticos da época, nos Estados Unidos e na Europa. A partir da caracterização desta música como um claro exemplo anterior do que fora considerado como estopim do jazz modal em Miles Davis, levanta-se a questão: porquê ela não foi ouvida?Universidade Federal de Minas Gerais (UFMG)2014-11-20info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontexttextinfo:eu-repo/semantics/otherapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/38493Per Musi; No. 30 (2014): General Topics; 1-5Per Musi; Núm. 30 (2014): General Topics; 1-5Per Musi; n. 30 (2014): General Topics; 1-52317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/38493/29926Copyright (c) 2014 Per Musihttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessCugny, Laurent Araújo, Fabiano 2022-06-03T18:47:27Zoai:periodicos.ufmg.br:article/38493Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2022-06-03T18:47:27Per Musi - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.none.fl_str_mv |
Flèche d’Or by Django Reinhardt: why was it not heard? Flèche d'Or de Django Reinhardt: por qué ¿no se escuchó? Flèche d’Or de Django Reinhardt: porquê não foi ouvida? |
title |
Flèche d’Or by Django Reinhardt: why was it not heard? |
spellingShingle |
Flèche d’Or by Django Reinhardt: why was it not heard? Cugny, Laurent Django Reinhardt and Miles Davis; History of bebop and modal jazz Guitar of Django Reinhardt Modal jazz and bebop in France Violão de Django Reinhardt e Miles Davis História do jazz modal e bebop Violão de Django Reinhardt Jazz modal e bebop na França La guitarra de Django Reinhardt y Miles Davis Historia del bebop y del jazz modal La guitarra de Django Reinhardt El jazz modal y el bebop en Francia |
title_short |
Flèche d’Or by Django Reinhardt: why was it not heard? |
title_full |
Flèche d’Or by Django Reinhardt: why was it not heard? |
title_fullStr |
Flèche d’Or by Django Reinhardt: why was it not heard? |
title_full_unstemmed |
Flèche d’Or by Django Reinhardt: why was it not heard? |
title_sort |
Flèche d’Or by Django Reinhardt: why was it not heard? |
author |
Cugny, Laurent |
author_facet |
Cugny, Laurent Araújo, Fabiano |
author_role |
author |
author2 |
Araújo, Fabiano |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Cugny, Laurent Araújo, Fabiano |
dc.subject.por.fl_str_mv |
Django Reinhardt and Miles Davis; History of bebop and modal jazz Guitar of Django Reinhardt Modal jazz and bebop in France Violão de Django Reinhardt e Miles Davis História do jazz modal e bebop Violão de Django Reinhardt Jazz modal e bebop na França La guitarra de Django Reinhardt y Miles Davis Historia del bebop y del jazz modal La guitarra de Django Reinhardt El jazz modal y el bebop en Francia |
topic |
Django Reinhardt and Miles Davis; History of bebop and modal jazz Guitar of Django Reinhardt Modal jazz and bebop in France Violão de Django Reinhardt e Miles Davis História do jazz modal e bebop Violão de Django Reinhardt Jazz modal e bebop na França La guitarra de Django Reinhardt y Miles Davis Historia del bebop y del jazz modal La guitarra de Django Reinhardt El jazz modal y el bebop en Francia |
description |
This article presents a criticism on historic aspects of the environment around the session of the tune Flèche d’Or by Django Reinhardt, and how critics considered the French musician at his time, both in America and Europe. After the demonstration that this piece is a true earlier example of what was considered the flame of the so called “modal jazz” with Miles Davis, the question takes place: Why was it not heard? |
publishDate |
2014 |
dc.date.none.fl_str_mv |
2014-11-20 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion text text info:eu-repo/semantics/other |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/38493 |
url |
https://periodicos.ufmg.br/index.php/permusi/article/view/38493 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/38493/29926 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2014 Per Musi http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2014 Per Musi http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
dc.source.none.fl_str_mv |
Per Musi; No. 30 (2014): General Topics; 1-5 Per Musi; Núm. 30 (2014): General Topics; 1-5 Per Musi; n. 30 (2014): General Topics; 1-5 2317-6377 1517-7599 reponame:Per Musi instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
instname_str |
Universidade Federal de Minas Gerais (UFMG) |
instacron_str |
UFMG |
institution |
UFMG |
reponame_str |
Per Musi |
collection |
Per Musi |
repository.name.fl_str_mv |
Per Musi - Universidade Federal de Minas Gerais (UFMG) |
repository.mail.fl_str_mv |
antoniom@fgvnf.br||permusi@ufmg.br |
_version_ |
1799711236290510848 |