The Joy of Music

Dickson, James K.; Bernstein, Leonard

doi:10.2307/892307

Notes

1960

DOI: 10.2307/892307

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The Joy of Music

James K. Dickson¹,

Leonard Bernstein²

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2009

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“… 10 For example, in Virgil Thomson, “Leonard Bernstein Conducts a Stimulating Medley of Essays in Music” (Review of The Joy of Music ), New York Herald Tribune Book Review , 29 November 1959, 3; and James K. Dickson, “Review of The Joy of Music , by Leonard Bernstein,” Notes 17 (June 1960): 407.…”

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Bernstein'sThe Joy of Musicas Aesthetic Credo

Giger¹

2009

J Soc American Mus

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The bulk of Leonard Bernstein's first book, The Joy of Music (1959), consists of three imaginary conversations and seven scripts of Omnibus lectures intended for the education of lay audiences. These texts have long been admired for their pedagogy but have largely been ignored as reflections of Bernstein's aesthetic views. This article proposes that The Joy of Music functions not only as a pedagogical document but also as an aesthetic manifesto preparing Bernstein's audiences for some of his best compositions—especially the Third Symphony (Kaddish; 1963, rev. 1977) and West Side Story (1957). In the context of The Joy of Music, Kaddish appears as the fulfillment of “the real American symphonic form” and West Side Story as the ultimate American musical stage work, that is, a work that is as sophisticated as opera but rooted in the American musical.

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Bernstein'sThe Joy of Musicas Aesthetic Credo

Giger¹

2009

J Soc American Mus

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The Joy of Music

Cited by 1 publication

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Bernstein'sThe Joy of Musicas Aesthetic Credo

Bernstein'sThe Joy of Musicas Aesthetic Credo

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