William Grant Still and George Gershwin, the two influential composers of the early twentieth century, had a common ambition of blending black American music into the “concert,” or classical music world. Nevertheless, despite the fact that there were differences in their approaches to such an undertaking, which in most cases transcended their distinct cultures and backgrounds, their fundamental philosophy was the same, thus creating tension on the battlefield. William Grant Still, arguably the most preeminent black composer of his time, definitely held the conviction that the aesthetic dignity and value of African American music should not only be recognized but also validated and fully incorporated within the classical genre. The composer’s standpoint was seen in his article “A Composer’s Viewpoint.” Here, through the inclusion of these people’s idioms, the popularity must be uplifted, and the listeners should be reared for a quench of the cultural richness representing their modalities. His ‘A Symphony No. 7 in C Major’ composed in 1935, especially the first movement (Moderato assai), accurately embodies such a notion.
Still’s symphony successfully dissects motifs of African-American people’s music like blues, jazz, and rhythm and combines that with the traditional symphonic framework. The melodies and rhythms of this music carry close-knit bonds to the African American musical traditions, which postulate syncopated rhythms, call-and-response patterns, as well as expressive melodic ornaments as peculiarities of the given genres. That being said, “The soul of those far-away beings is here and now” enriches the symphony with the material of which it is made; this is not a simple quoting or superposing, it is not a foreign incursion, but it is an organic incorporation in the classical form. In George Gershwin’s case, he, a Jewish composer of Russian heritage, sits on a lower bench and dwells on a different motivation. In the chapter of the essay Porgy and Bess, famously written by Ellen Noonan (190), Gershwin’s motivation was not only to uplift African American music but also to make a serious composition that would distinguish him as a classical composer.
According to Noonan(150), Gershwin’s view of “Reducing the decor to its most strict minimal” persuades the reader that Gershwin thinks merging the black music with his was rather a means to an end building up to closure more than the end in itself. Porgy and Bess, Act II, Scene 2, offer examples of Gershwin’s borrowing from the rhythms, melodies, and harmonies of jazz, blues, and spirituals, although this often happens more deliberately or elaborately. Still intended to fuse the classical structure with the traditional Black music elements, but on the other hand, Gershwin’s approach resembles the more collage-like juxtaposition or just the layering of these elements onto the operatic mold. Black musical idioms are a gift that we cherish. However, they tend to feel like celebration pieces or scenery in the paintings rather than components of an overall cloth (Oja& Carol, 129). This disparity among the ways with music brings questions about genuine subjects and cultural possession, as well as the difficulty of the contradictions that are coherent with the purpose of “raising” Black music by integrating it into classical works. Yet, in association with these musical traditions, William Grant could be seen as having a greater true claim to them and a deeper understanding of their cultural values. His approach had the goal of keeping the originality and purity of those in the background and, at the same time, magnifying their beauty and influence in the world of classical music.
On the other hand, Gershwin, having no doubt been influenced from and even prompted by Afro-American music, nevertheless viewed it from the point of view of an enthusiastic spectator rather than from the position of an active participant. He was inspired by a culture that began to regard commercialism and want for fame more seriously than a desire to understand or preserve these traditions. Furthermore, it is possible to think that the very fact of “adding” Black tune to classical endeavor is something that contains, on the one hand, a contradiction and, on the other hand, disproportion. This point is that the White style is famous, and this is why the Black musical practices seem to require validation or legitimization through this process of “elevation.”
In conclusion, it is safe to say that, although they definitely did combine Black music influence into classical works, Still and Gershwin have differing mild’s in this matter expressed in the intention behind this, in the authenticity of this work, and what is more, here, in terms of a level of natural integration achieved. Certain of Gershwin’s paintings were able to recommend this kind of music to bigger audiences, but Still’s compositions perhaps deepened the cultural roots of this phenomenon in classical music while expanding their audience at the same time. While their legacy has often been considered in our times, there is an unquestionable complexity that encompasses the issues of cultural belonging, ownership, and the transformation of classical music itself. Moreover, the contribution of composers such as Still and Gershwin was instrumental in the evolution of a more pluralistic and culturally audible classical song tradition; but at the same time, the distinct methods they chose to portray and incorporate the marginalized musical traditions show the ongoing struggles and discussions on the true representation and integration these atypical musical forms in the canonical context of the classical music.
Works Cited
Noonan, Ellan. “The Strange Career of Porgy and Bess: America’s Most Famous Opera.” Choice Reviews Online, vol. 50, no. 10, May 2013, pp. 50–579650–5796, https://doi.org/10.5860/choice.50-5796. Accessed 1 Feb. 2021.
Oja, Carol J. “New Music” and The” New Negro”: The Background of William Grant Still’s” Afro-American Symphony.” Black Music Research Journal (2002): 107-130.
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