Flèche d’Or by Django Reinhardt: why was it not heard?

Detalhes bibliográficos
Autor(a) principal: Cugny, Laurent
Data de Publicação: 2014
Outros Autores: Araújo, Fabiano
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?
id UFMG-3_a4fd91a3c3f049d66cc618b648c7ec76
oai_identifier_str oai:periodicos.ufmg.br:article/38493
network_acronym_str UFMG-3
network_name_str Per Musi
repository_id_str
spelling 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