A Quote by Jerome Kern

Irving Berlin has no place in American music -- he is American music. — © Jerome Kern
Irving Berlin has no place in American music -- he is American music.
Irving Berlin has no place in American music. He is American music. Emotionally, he honestly absorbs the vibrations emanating from the people, manners and life of his time and, in turn, gives these impressions back to the world -- simplified, clarified and glorified.
Irving Berlin was the greatest songwriter of all time. I was in awe of him. But his music wasn't my music. My music was the blues.
The music changed. We had Irving Berlin and Gershwin and Lerner and Loewe and Cole Porter. Great music. Now we have 'Rent.'
I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn't catch on right away - but I had some good mentors in New York who encouraged me.
Copland was one of the first American composers to forge a truly modern style of American classical music while also making use of American popular music - including jazz.
You know, jazz is the mother of all American music. R&B and pop and rap and everything are the branches on the main tree of the life of music, American music, which is jazz.
There was always a lot of American music in England until, obviously when the Beatles came around, then there was a shift towards English music, but before then American music was the main thing...
There was always a lot of American music in England until, obviously when the Beatles came around, then there was a shift towards English music, but before then American music was the main thing.
I want to say at once that I frankly believe that Irving Berlin is the greatest songwriter that has ever lived.... His songs are exquisite cameos of perfection, and each one of them is as beautiful as its neighbor. Irving Berlin remains, I think, America's Schubert.
'Lollipop Opera' is the backdrop to Finsbury Park. A place that is very thriving, interracial and lot of music stores, Greek, Turkish, all sorts of immigrant music. It's utter Englishness. It blends the Jamaicans, the Irish. It's like what Jim Reeves did with American country music.
Getting into the banjo and discovering that it was an African-American instrument, it totally turned on its head my idea of American music - and then, through that, American history.
Influences at home, including classical music, were not all specifically jazz, but the family radio was always on... So there was always some connection to American culture, to American music.
Bill Monroe spoke of bringing 'ancient tones' into his music with echoes of British and Irish fiddle and bagpipe music, while also delving deeply into American blues, gospel, folk hymnody, and hill country dance music. To that gumbo, he added the invigorating rhythms and harmonies of hot jazz. It was a new kind of American music, named in honor of his band The Blue Grass Boys to be known, simply, as bluegrass.
When I did the Abyssinian mass, I went through the whole history of the church music and the gospel music, even with the Anglo American hymns, the Afro American hymns, the spirituals and how it developed, up to Thomas Dorsey and the Dixie Hummingbirds, going through the history of the music, jazz musicians.
Jazz I regard as an American folk music; not the only one, but a very powerful one which is probably in the blood and feeling of the American people more than any other style of folk music.
When I was growing up, hip-hop music existed as American thing. If you listened to it you were listening to an American subculture, whereas now you're just listening to pop music that everyone shares. I think that's big.
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