Influences on other Historical Prominent Composers
     Many American composers such as Leonard Bernstein, Stephen Sondheim, and William Bolcom who were direct successors of Gershwin were interestingly revolved around classical composition and performance, which brings up the debate about whether Gershwin was a classical composer or a popular music composer. With little structural background in technical music studies and even entering the music world at a late age of 12, many are still in debate as to credit Gershwin for his genius in performance and composition for the popular music of that time or to take his classical efforts more seriously (Rockwell).

Gershwin had a unique effect on the direction of where popular American music headed. During the early 1900s, music was increasingly becoming dictated by the enticing opportunities of fame and wealth. Such opportunities were guided by audience demand and as such, modernism’s effect on music had a profound impact on what type of music was being composed during those times (which according to the New York Times, caused music to become “ever more dissonant, complicated and uncommunicative”). Gershwin’s ability to popularize his more classical works enticed many upcoming composers to divulge in traditional classical composition. This as a result caused many theatres and performances in New York City to become not only a hub of modern, joyful music (such as Ragtime), but offered a more serious atmosphere that diverted from the all-American musical style that was previously reinforced by previous composers.

Gershwin’s Influence on Postmodern Music
    Gershwin’s influence on today’s musicians is less about musicians copying Gershwin’s music techniques. Rather than making comparisons in similarities of composition, Gershwin’s lasting effect lies in his inspiration pursuit of popular music. Gershwin was no innovative entrepreneur who broke past the limits of either traditional classic music or American folk music during the early 1900s, but his capability of making a music that seemed forgotten in comparison to the more enticing rock and electronic music, to be enjoyable to listen by an audience of a wide age range.

Cultural and Societal Influences
     Aside from his influence on other composers, Gershwin as a individual is a spectacle to observe. A sex symbol, jazz composer, mixer of classical and popular music, millionaire, and in whole the embodiment of the American Dream. In today’s area of study, there are other prominent musicians that are looked up to for different reasons. Bach, Mozart, Debussy, Joplin, popular names that are discussed throughout the years, but not Gershwin. One factor in this is because of his tragic death at such a young age. But another major factor was that Gershwin was never a real innovator. Successful yes, but his music in its deepest analysis, was an attempt of fusion between popular music and traditional classic music, something not uncommon and done

George & Ida Gershwin Hollywood Star

by many other composers before and after Gershwin’s time. It’s best to understand that Gershwin is not crucial to the development of American music and music as a whole by his combinations of classical and popular music, but rather how he ‘pitched’ this combination in a manner that made it appealing for the mass public which obviously, contributed to his wealth and fame (Schiff).

 

 

Work Sample

(1928)

Connections to Seminar Themes
“What makes New York City unique? New York City has gone through many transformations which have been reflected in art.”

I believe that this seminar theme effectively relates to the cultural and societal influence that Gershwin had on New York City as well as musicians from our history and contemporary context. While Gershwin doesn’t single handedly make New York City, the legacy he left behind is more than enough to discuss how he represents the uniqueness that is characteristic of the diverse population of New York City. His entire legacy is credited to how he so successfully marketed/ displayed the fusion between classical traditional music and popular music of the early and mid 1900s. Note that the combination and experimentation between the two genres was not uncommon, however, Gershwin proved that not only was he able to utilize an older genre of music and become wealthy from it, but that New York City was an environment not riddled by rules and restrictions. Gershwin challenged the notion that all popular music genre performed in New York City had to follow a certain genre dictated by audience demand (as I mentioned, modernism largely dictated popular music during Gershwin’s generation).

Based on this, I believe that in terms of music, New York City is simply much more open-minded environment that allows for an infinite amount of experimentation that is void of harsh criticism. Gershwin for example, could have not been criticized, but largely unpopular due to his use of classical music in an American culture that largely favored the more exciting (debatable) genres of jazz and ragtime. But the more receptive audience of the city is precisely what allowed Gershwin to become the successful millionaire that he is remembered as. Gershwin’s music also represents the change and fluidity of the culture of music during that time period as well that sparked a more diverse palette of music, very characteristic of the diversity that symbolizes New York City.

 

Bibliography
Rockwell, John. “THE GENIOUS OF GERSHWIN STILL INSPIRES COMPOSERS.” The New York Times, The New York Times, 7 Mar. 1987, www.nytimes.com/1987/03/08/arts/the-genious-of-gershwin-still-inspires-composers.html?pagewanted=all.

Schiff, David. “Misunderstanding Gershwin.” The Atlantic, Atlantic Media Company, 1 Oct. 1998, www.theatlantic.com/magazine/archive/1998/10/misunderstanding-gershwin/377252/.

Sainaniritu. “George and Ira Gershwin’s Star at the Hollywood Walk of Fame in Hollywood, California.” Depositphotos, Depositphotos, depositphotos.com/29285563/stock-photo-george-ira-gershwins-star-at.html.

McInroy, Rebecca. “George Gershwin and The Art of America.” KUT 90.5, The University of Texas at Austin, 3 Feb. 2015, kut.org/post/george-gershwin-and-art-america.

The Editors of Encyclopædia Britannica. “George Gershwin.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 25 Apr. 2017, www.britannica.com/biography/George-Gershwin.