Editing George Gershwin (section)

===Musical, Europe and classical music: 1924–1928===
[[File:George Gershwin-signed.jpg|thumb|left|alt=Head and shoulders picture of a young man with slicked back dark hair and a signature on the bottom|George Gershwin, c. 1935]]

In 1924, Gershwin composed his first major work, ''[[Rhapsody in Blue]]'', for orchestra and piano.<ref>{{Cite book |editor-last=Gorlinski |editor-first=Gini |title=The 100 Most Influential Musicians of All Time |page=166 |year=2010 |publisher=[[Britannica Educational Publishing]] |url=https://archive.org/details/100mostinfluenti0000unse_s6r3/page/166/mode/1up |isbn=9781615300068}}</ref> It was orchestrated by [[Ferde Grofé]] and premiered by [[Paul Whiteman]]'s Concert Band, in New York. It subsequently went on to be his most popular work, and established Gershwin's signature style and genius in blending vastly different musical styles, including [[jazz]] and classical, in revolutionary ways.

Since the early 1920s, Gershwin had frequently worked with the lyricist [[Buddy DeSylva]]. Together they created the experimental one-act jazz opera ''[[Blue Monday (opera)|Blue Monday]],'' set in Harlem. It is widely regarded as a forerunner to the groundbreaking ''[[Porgy and Bess]]'' introduced in 1935. In 1924, George and Ira Gershwin collaborated on a stage musical comedy ''[[Lady Be Good (musical)|Lady Be Good]]'', which included such future [[Jazz standards|standards]] as "[[Fascinating Rhythm]]" and "[[Oh, Lady Be Good!]]".<ref>{{ibdb show|title=Lady, Be Good|id=5227}}. Retrieved August 22, 2011</ref> They followed this with ''[[Oh, Kay!]]'' (1926),<ref>{{ibdb show|id=6687 |title=Oh, Kay!}}. Retrieved August 22, 2011</ref> ''[[Funny Face (musical)|Funny Face]]'' (1927) and ''[[Strike Up the Band (musical)|Strike Up the Band]]'' (1927 and 1930). Gershwin allowed the latter song, with a modified title, to be used as a football fight song, "Strike Up The Band for UCLA".<ref>{{ibdb show|title=Strike Up the Band|id=11031}}. Retrieved August 22, 2011</ref>

In the mid-1920s, Gershwin stayed in Paris for a short period, during which he applied to study composition with the noted [[Nadia Boulanger]], who, along with several other prospective tutors such as [[Maurice Ravel]], turned him down, afraid that rigorous classical study would ruin his [[jazz]]-influenced style.{{sfn|Jablonski|1987|pp=155–170}} Maurice Ravel's rejection letter to Gershwin told him, "Why become a second-rate Ravel when you're already a first-rate Gershwin?" While there, Gershwin wrote ''[[An American in Paris]]''. This work received mixed reviews upon its first performance at [[Carnegie Hall]] on December 13, 1928, but it quickly became part of the [[standard repertoire]] in Europe and the United States.{{sfn|Jablonski|1987|pp=178–180}}