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Arranging Orientalism for Whiteman
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This chapter focuses on arrangements of Orientalist numbers prepared for Whiteman’s ensembles in the 1920s. Orientalist representation runs throughout Whiteman’s career and was featured in his famous 1924 Experiment in Modern Music concert, both in Victor Herbert’s Suite of Serenades and in Ferde Grofé’s orchestration of George Gershwin’s Rhapsody in Blue. Some 120 Orientalist arrangements are in Whiteman’s collection at Williams College, and this chapter focuses on those involving East Asian representation. The author notes the influence of Arthur Lange’s 1926 Arranging for the Modern Dance Orchestra. Even when Orientalist lyrics were not sung in instrumental arrangements of such hit numbers as “The Japanese Sandman” performed and recorded by Whiteman, they were likely present in the audience members’ minds.
Title: Arranging Orientalism for Whiteman
Description:
This chapter focuses on arrangements of Orientalist numbers prepared for Whiteman’s ensembles in the 1920s.
Orientalist representation runs throughout Whiteman’s career and was featured in his famous 1924 Experiment in Modern Music concert, both in Victor Herbert’s Suite of Serenades and in Ferde Grofé’s orchestration of George Gershwin’s Rhapsody in Blue.
Some 120 Orientalist arrangements are in Whiteman’s collection at Williams College, and this chapter focuses on those involving East Asian representation.
The author notes the influence of Arthur Lange’s 1926 Arranging for the Modern Dance Orchestra.
Even when Orientalist lyrics were not sung in instrumental arrangements of such hit numbers as “The Japanese Sandman” performed and recorded by Whiteman, they were likely present in the audience members’ minds.
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