„Szerkesztő:Matepyt/próbalap” változatai közötti eltérés

Serry a brooklyni Technical High School-ban építészetet tanult, ekkoriban kapott egy majdnem végzetes betegséget, ami félbeszakította zongora tanulmányait. Később édesapja bíztatta őt, hogy tanuljon harmonikán játszani. 1926–1929-ig a new yorki Pietro Deiro iskolában tanult harmonikázni, ''Joseph Rossitól''. 14 éves korában már élő adásban játszott az olasz WCDA rádió csatornán. 1929–1932 között ''Albert Rizzinél'' folytatta tanulmányait, aki zongorázást és összhangzattant tanított neki, és 2 évig ''Gene Von Hallbergnél'' aki az amerikai harmonikások egyesületének volt az alapítója. Életreszóló barátságot kötött ''Louise Del Monte'' harmonikással, ő ébresztette fel érdeklődését a latin-amerikai zene iránt. Felsőfokú tanulmányait a zeneszerző ''Robert Strassburg'' irányítása alatt végezte a 1940-es években, akitől többek között hangszerelést is tanult.

 

 

With the help of Del Monte, in the 1930s Serry began his professional career by making appearances with the Ralph Gomez Tango orchestra at the Rainbow Room at the [[RCA Building]] in Rockefeller Center,<ref name="article9">''Accordion News'', March, 1935</ref> leading to an extended engagement there in 1935.<ref name="article9" />

 

Serry also served as Assistant Dean of Accordion and Harmony at the Biviano Accordion Center in Manhattan between 1939 and 1942,<ref>''The New York Times'', 2 November 1941, p. X6</ref><ref>''The New York Times'', 6 September 1942, p. X5</ref> providing instruction on accordion and [[orchestral jazz]].<ref>''The New York Times'', 25 October 1942, p. X8</ref><ref>''The New York Times'', 29 November 1942, p. X6</ref>

 

 

Serry married his wife Julia in the 1940s and moved to [[Nassau County, New York]] on Long Island in order to raise a family of four children, one of whom is the jazz musician [[John Serry]] Jr. He simultaneously undertook private studies with Joscha Zade in piano (1945–1946), [[Radio City Music Hall]] organist Arthur Guttow, (1946) and composer [[Robert Strassburg]] in orchestration and Advanced Harmony (1948–1950)<ref>''The New York Times'', 18 November 1945, p. 50</ref> while specializing in the musical compositions of [[Gershwin]], [[Debussy]] and [[Ravel]].<ref name="article11">"Who Is Who In Music International 1958" Publisher: Who Is Who In Music International, Chicago, Il. Biographical File # B11719. See [[International Biographical Center]], Cambridge, England as current publisher.</ref>

Like many accordionists of this era, Serry took note of the limitations imposed by the [[Stradella bass system]] during performances of classical music. In an effort to circumvent these limitations, he designed and developed a working model of a [[free-bass system]] for the accordion during this decade. It incorporated dual keyboards for the soloist's left hand while incorporating two sets of reeds which were tuned in octaves. This gave the soloist access to a range of tones which exceeded three and one-half octaves.<ref>''Squeeze This: A Cultural History of the Accordion in America'' Jacobson, Marion. University of Illinois Press, Chicago, Il., USA, 2012, P.61. {{ISBN|978-0-252-03675-0}}</ref>

 

During the early days of network television in the 1950s, Serry performed at CBS as a staff member of the original CBS Orchestra (1949–1960) and an accompanist on several live network television programs including ''The [[Jackie Gleason Show]]'' in 1953, ''[[The Ed Sullivan Show]]'' in 1959, ''[[The Frank Sinatra Show (CBS TV series)]]'' in the 1950s, and with organist Billy Nalle,<ref><!--http://www.BillyNalle.Com--> http://www.classicthemes.com/50sTVThemes/themePages/mama.html</ref> on the prime time drama ''[[Mama (TV series)|I Remember Mama]]'' in 1953 with [[Peggy Wood]].

 

His advanced grade composition for accordion, ''American Rhapsody'' was completed and published during in 1955, and he created a comprehensive course of instruction for students of the accordion at the U.S. School of Music at the start of this decade.

 

Serry collaborated on the ''[[Voice of Firestone]]'' series with the conductor Howard Barlow (guest conductor for NBC Television in 1961<ref>''The Boston Globe'', 24 November 1991, p. A3</ref>) and on ''The Revlon Revue'' (1960) for CBS Television. He also appeared in several [[Broadway theatre]] productions including: ''[[Cabaret (musical)|Cabaret]]'' at the Imperial Theatre (1968);''[[The Happy Time (musical)|The Happy Time]]'' starring [[Robert Goulet]] at The Broadway Theatre (1968 [[Tony Award]] Best Musical), and ''[[Fiddler on the Roof]]'' starring [[Zero Mostel]] at the Majestic Theatre (1968).

 

His advanced grade composition ''Concerto For Free Bass Accordion'' was also completed during this decade in 1966. In the process, he contributed a definitive work for accordion which embraces both the [[classical music]] and [[symphonic jazz]] musical genres as expressed within the United States. (See ''Advanced compositions'' below & [[List of jazz-influenced classical compositions]]).

 

At the start of the 1970s, Serry continued his work as an accordionist in a limited revival production of ''Fiddler on the Roof'' with Zero Mostel at the [[Westbury Music Fair]] on Long Island, New York.<ref>''The New York Times'', 23 August 1971, p. 35</ref> As the decade of the 1970s unfolded, however, the publics' interest in the accordion began to diminish. With this in mind, Serry elected to devote more time to playing as a concert organist.

 

In accordance with the ecumenical and liturgical guidelines for [[interfaith marriage]] ceremonies, Serry performed [[sacred music]] reflecting a variety of religious traditions, including: [[Catholicism]], [[Protestantism]], [[Judaism]], and [[Eastern Orthodox]]. His brief concerts were presented prior to each wedding ceremony on both the organ and the piano. Musical accompaniment was often provided for vocal soloists, [[hazzan]]s, as well as [[cantor (Christianity)|cantors]]. His concerts featured classical and contemporary works by such composers as: [[Bach]], Beethoven, [[Leonard Bernstein]], [[John Denver]], [[Mendelssohn]], [[Jean-Joseph Mouret]], Mozart, [[Purcell]], Tchaikovsky, [[Satie]], [[Vivaldi]], [[Wagner]], [[Charles Widor]], and [[Andrew Lloyd Webber]].

 

Serry died after a brief illness on Long Island, New York in 2003, age 88.<ref>''Allegro'', American Federation of Musicians, New York, January 2004, Vol CIV, [http://www.local802afm.org/publication_entry.cfm?XEntry=23736371 No. 1.] {{webarchive|url=https://web.archive.org/web/20060528201555/http://www.local802afm.org/publication_entry.cfm?xEntry=23736371 |date=2006-05-28 }}</ref> One of his surviving sons is John Serry Jr., a jazz pianist, composer, conductor, and arranger.<ref>http://www.local802afm.org/2004/01/requiem-53/</ref>