Chapter 2 Music in the United States Before · PDF fileMusic in the United States Before the Great Depression Background: The United States in 1900-1929 In 1920 in the US ... Piano

AmericanMusicinthe20thCentury 6

Chapter 2

Music in the United States Before the Great Depression

Background: The United States in 1900-1929

In1920intheUS

-Averageannualincome=$1,100-Averagepurchasepriceofahouse=$4,000-Ayear'stuitionatHarvardUniversity=$200-Averagepriceofacar=$600-Agallonofgas=20cents-Aloafofbread=20cents

Between1900andtheOctober1929stockmarketcrashthattriggeredtheGreatDepression,theUnitedStatespopulationgrewby47millioncitizens(from76millionto123million).GuidedbythevisionofpresidentsTheodoreRoosevelt1andWilliamTaft,2theUS

1)beganexertinggreaterpoliticalinfluenceinNorthAmericaandtheCaribbean.32)completedthePanamaCanal4—makingitmuchfasterandcheapertoshipitsgoods

aroundtheworld.3)enteredits"ProgressiveEra"bya)passinganti-trustlawstobreakupcorporate

monopolies,b)abolishingchildlaborinfavoroffederally-fundedpubliceducation,andc)initiatingthefirstfederaloversightoffoodanddrugquality.

4)grewto48statescoast-to-coast(1912).5)ratifiedthe16thAmendment—establishingafederalincometax(1913).

Inaddition,by1901,theLucasbrothershaddevelopedareliableprocesstoextractcrudeoilfromunderground,whichsoonmassivelyincreasedtheworldwidesupplyofoilwhilesignificantlyloweringitsprice.ThisturnedtheUSintotheleaderofthenewenergytechnologyforthenext60years,andopenedthepossibilityfornumerousnewoil-reliantinventions.

1TheodoreRoosevelt(1858-1919)wasthe26thPresidentoftheUnitedStates[1901-09]andadistantcousintoFranklinD.Roosevelt(the32ndUSPresident).

2WilliamTaft(1857-1930)wasthe27thPresidentoftheUnitedStates[1909-13],andtheonlyPresidentwhoalsoservedasaJusticeoftheUSSupremeCourt[1921-30].

3ThiswasduelargelytotherecentUSvictoryintheSpanish-AmericanWar[1898—inwhich"Teddy"Roosevelt&hisRoughRiderscavalryplayedacriticalrole],ultimatelygivingtheUScontrolofPuertoRico,Guam,andthePhilippines,aswellasensuringCuba'sindependencefromSpain.

4TheFrenchstartedworkonthePanamaCanal(1881-94)butgaveupafterover20,000workersdiedfrommalaria/accidents.TheUScompletedthecanal(1904-14)andkeptcontrolofituntil1999whentheyreturnedittoPanama.Beforethiscanal,ashipfromNewYorkCitytoSanFranciscohadtotravelallthewayaroundthelowertipofSouthAmerica—a13,000-miletripthattookover60days.ThePanamaCanalcutittojust5,000milesandlessthanamonth.TradebetweentheUSwestcoast/EuropeandtheUSeastcoast/Asiaincreasedsubstantiallyasaresultofthismodernmarvel.AnexpandedPanamaCanalopensin2016,andwillbeabletohandletoday'smodernmega-ships.

AmericanMusicinthe20thCentury Chapter2:MusicintheUSBeforetheGreatDepression

7

In1917,underPresidentWoodrowWilson,5theUSbelatedlyenteredWorldWarIontheeventualwinningside6(1917-18),andratifiedthe18thand19thAmendments,whichprohibitedthemanufactureandsaleofalcohol(18th,1919)andgavewomentherighttovote(19th,1920).Meanwhile,federalagentsbattlednotoriousgangstersandmafiafiguresforcontrolofseveralmajorUScities.

Duringthesethreedecades,AmericaningenuitygavebirthtomanyinventionsthatwouldsoontransformlifeandcultureintheUSandmanyotherpartsoftheworld:

-Escalator(Seeberger,1900)-Safetyrazor(Gillette,1901)-ImprovedprocessforoildrillingledtomassiveexpansionofUSoilproduction(Lucas,1901)-Airconditioner(Carrier,1902)-Motorizedmannedairplane(WrightBrothers,1903)-Washingmachine(Fisher,1904)-Automobileassemblyline(Ford,1908)-Motionpictureswithsound(Edison,1910)-Homerefrigerator(GeneralElectric,1911)-AMradio(DeForest,1917)-Tommy-gun/machinegun(Thompson,1920)-Trafficsignal(Morgan,1923)-Frozenfood(Birdseye,1924)-Dynamicloudspeakers(Rice/KelloggofGeneralElectric,1924)-FirstworkingTVsystem(Farnsworth,1927)

Allthisheraldedinthe"Roaring20s"—adecadeofmajorsocio-politicalupheavalintheUnitedStates.By1920,theUShadbecometheleadingindustrialnationintheworld,driventoever-growingheightsbyitsfreemarketcapitalistsystemduringthepresidenciesWarrenHarding7andCalvinCoolidge.8Forthefirsttime,moreAmericanslivedincitiesthanonfarms.ManyAfrican-Americansmadea"GreatMigration"fromSouthernplantations&dockstoNortherncitiesintheindustrialupperMidwestwheretherewerebetter-payingmanufacturingjobs."Flappers"(radicalyoungwomenwiththeirshortbobbedhairandrelativelyshortskirts)werepushingsocialboundariesandwieldingtheirnewfoundpoliticalpower.

America'sfirstcommercialradionewsprogramwasbroadcastinAugust1920by8MK(AM)fromDetroit.Withinafewmonths,avarietyofcommercialradiostationsinmajorUScitieswerebroadcastingnews,sports,andentertainmentprograms.By1922therewere600radiostationsacrosstheUS,andbytheendofthatdecade60%ofAmericanfamilieshadpurchasedradios.Americawasnowtruly"united"asa5WoodrowWilson(1856-1924)wasthe28thPresidentoftheUnitedStates[1913-24],andaformerPresidentofPrincetonUniversitywithaPhDinpoliticalscience.

6Afterdecadesofintentionalisolationfrominternationalpolitics,in1917theUSjoinedforceswiththe"AlliedPowers"(Britain,France,Russia),whoeventuallywonthewaronNovember11,1918(thisiswhyNov.11iscelebratedas"Veteran'sDay"intheUS).JustasWorldWarIwasending,theworstinfluenzapandemicinhumanhistoryhitfrom1918-19,killing20%oftheworld'spopulationincludingnearly700,000Americans—fivetimesthenumberofUSdeathsinWorldWarI(116,516).

7WarrenHarding(1865-1923)wasthe29thPresidentoftheUnitedStates[1921-23],whosetermwascutshortwhenhediedfromabrainhemorrhageatage57afterjust28monthsinoffice.

8CalvinCoolidge(1872-1933;Harding'svicepresident)wasthe30thUSPresident[1923-29].For19months,hefinishedtherestofHarding'stermwithouthavingavice-presidenttotakehisplace.


8

consumermarket,withready-to-wearclothingandhomefurnishingssoldthroughmail-ordercatalogsandbig-citydepartmentstores,asadvertisedbyradiostations,newspapersandmagazines.

Urbanmasstransithadbeenintroducedin1904withtheopeningofthefirstundergroundsubwaylineinNewYorkCity,butjust25yearslaterAmericanshadbecomeevenmoremobileafterHenryFord's$260ModelTmadeitpossibleforoneinfiveUSadultstoowntheirowncar.Newindustriessuchasgasstationsandmotelsarosetomeettheneedsofon-the-goAmericansexercisingtheirnewsenseoffreedom.ThisrapidchangewasevidentinthemusicemergingacrosstheUS.

***

American Music from c1900-1929 MuchoftheimpetusforthenewenergyandinnovationinAmericanmusicintheearly1900scamefromAfrican-Americanmusiciansthroughspirituals,ragtime,blues,andjazz.ThemagnitudeofthesebreakthroughsisbestunderstoodbyconsideringthefullpictureofRootsMusic,PopularMusic,andClassicalMusicintheUnitedStatesduringthisperiodofrapidstylisticandtechnologicalchange.

ABriefHistoryofEarlyRecordingTechnologyandCopyright

In1878,thegreatAmericaninventorThomasEdisonperfectedthephonograph,whichplayedaverticalwaxcylinderinsteadofadisc.In1887,theGerman-bornAmericaninventorEmileBerlinerpatentedthegramophone,whichplayed78RPMflatshellac-plasticdiscsthatweremucheasierandcheapertomass-produce(theterm"Grammy"isstillusedtodayformajorawardsintherecordingindustry).Bothmachinesusedahand-crankedwind-upspringmotortorotatetheplaybackdevice,andasingleceramiccone-shapedhorntoamplifythesound.Eachrecordingcouldholdonlyabout4minutesofsound.Pianomusicwasoftenrecordedon"paperrolls"tobeplayedback"live"onmechanicalplayerpianoswhichreproducedanauthenticpianosound,butphonographdiscrecordingtechnologywasextremelylimitedand"tin-ny"atthistimebecauseperformerssangorplayedintoalargeacousticalhornthatvibratedadiaphragmtocutgroovesintothewaxmasterdisc,whichlostmostofthehigher/lowerfrequenciesintheprocess.

Amajorbreakthroughcamein1925withthedevelopmentoftheelectricmicrophonebyBellLabsandWesternElectricintheUS,whichfinallymadeitpossibletocapturemorerealisticlivesoundandconvertitforplaybackonelectric-poweredphonographsthroughanelectricstylus/needleanddynamicloudspeakers.Thisfinallymadeitpossibletoaddsoundtomotionpictures.Withthisnewandimprovedtechnologysomuchindemand,musicpublishersturnedtheirattentionfromsellingsheetmusictomakingrecords.Salesofphonographsrosefromjust190,000in1923to5millionin1929,andthemostpopularsongswerenowsellinginthehundredsofthousands,bothinprintandrecordedformats.Recordedsoundwasstillmono/1-channeluntil1934whenstereo/2-channelsoundwasinvented.

The1909CopyrightActgavecomposersrightsto"mechanical"royaltiesforthereproductionoftheirmusicinplayer-pianorollsandphonographrecords

American "Roots Music" of the Early 1900s

I.African-AmericanRootsMusicoftheEarly1900sSpirituals Gospelmusicofthe20thand21stcenturieshaditsrootsinblackoraltraditionsdatingbacktoAmericanslavesinthe1600s.Whiletoilinginthefields,they


9

improvisedexpressiveworksongs—someofwhichornamentedsimpleChristianhymnswithrepetitive"callandresponse"exchangesfromnativeAfricantradition.ThisgrewintotherichtraditionofsacredNegrospirituals,9suchas"DeepRiver","SwingLow,SweetChariot","NobodyKnowstheTroubleI'veSeen",and"EveryTimeIFeeltheSpirit"whichhavebeenimmortalizedandpreservedthroughauthenticperformancesbytheJubileeSingersofFiskUniversityfrom1871tothepresent.

In1875,thewhiteMethodistsinger-composerIraSankey(1840-1908)publishedthebookGospelHymnstobesungandsoldatevangelicaltent"revivalgatherings"ledbytheministerDwightMoody.Duringitsfirsttenyearsinprint,thisbookmadeover$350,000inroyaltiesusedtosupporttheirministry.By1915,thistraditionreachedanevenwidermulti-racialaudiencethroughtheAfrican-AmericancomposerHarryBurleigh(1866-1949)andhisbeautifulclassically-orientedsoloandchoralarrangementsofNegrospirituals—thefirstinternationally-belovedexamplesofcharacteristically"American"music.The Blues The"blues"itselfitanextremelyinfluentialtypeofAmericanrootsmusicthatoriginatedintheDeepSouthbythelate1800s,asAfrican-Americanmusiciansdevelopedastylecalledtheblues10thathelpedthemreleasetheirtroublesthroughsinging/playingapainfulstory.Itblendedabasic3-chordEuropeanharmonicpattern("I-IV-V";see"12-barblues,"below)withtheunaccompaniedoraltraditionsofAmericanslavesandthevocalmusicoffreeruralAfrican-Americanstocreateawidevarietyofsubgenres,withregionalvariationsacrosstheUnitedStates.Overtheyears,thebluesbecamean"undergroundaquifer"thatfromthisrootimpactedallofthemajorstreamsofAmericanpopularmusicafter1900,includingjazz,R&B,soul,rock&roll,andrap.Bluessongsareusuallybasedonasimplestrophictext(havingseveralverses)in"AAB"form.11Thevocalmelodyissungoverbasicinstrumentalharmonicpatternssuchasthe“12-barblues,"inastylecharacterizedbyexpressivelybent"bluenotes."

Hereisaverybasicchordprogressionofa12-barbluesinthekeyof"C":

(clickheretoseeananimatedYouTubeclipwithbasicpianochords)

***9"Negrospirituals"isatime-honoredtermthatisstillusedbytheAfrican-Americangroupsthatperformthem,asawaytorememberthoseslaveswhosufferedtocreatethesesongs.10AlthoughAmericanbluescombinesaEuropeanharmonicstructureandAfricantraitssuchas"call-and-response"andbent"blue"notes,thebluesbearsnoresemblancetothemelodicstylesoftheWestAfrica,andnospecificAfricanmusicalformcanbeidentifiedasitssingledirectancestor.

11In"AAB"form,the1stmelodicideaisstatedandrepeated,thena2ndcontrastingideaisstatedbutNOTrepeated).


10

II.TheFolkStylesofAmericanRootsMusicintheEarly1900sCowboy Songs of the American West Americanfolksongsoftentellstoriesofhowournationdeveloped—especiallythewestwardexpansionofthe1800s—throughsongsaboutminers,gunslingers,andcowboys.OneexampleisthefamouscowboysongfromtheoldAmericanWest,"HomeOntheRange,"whichhaditswordsandmusicpublishedtogetherforthefirsttimein1905,andwhichhasbeentheofficialstatesongofKansassince1947.

Lyrics:Oh,givemeahomewherethebuffaloroam,andthedeerandtheantelopeplay,Whereseldomisheardadiscouragingword,andtheskiesarenotcloudyallday.Home,homeontherange,wherethedeerandtheantelopeplay,Whereseldomisheardadiscouragingword,andtheskiesarenotcloudyallday.

Labor Songs SongsaboutAmericanlaborcamefromtheminstrelshowtradition.Somearestillfamoustoday,suchas"I'veBeenWorkin'OntheRailroad"(firstpublishedin1894):

Lyrics(Note:Dinahisthecookwhoblowsawhistlewhenlunchisready):

I'vebeenworkingontherailroad,allthelive-longday,I'vebeenworkingontherailroad,justtopassthetimeaway,Can'tyouhearthewhistleblowin',riseupsoearlyinthemorn',Can'tyouhearhercaptainshouting,"Dinah,blowyourhorn!"Dinah,won'tyoublow,Dinahwon'tyoublow,Dinahwon'tyoublowyourhorn?"Dinah,won'tyoublow,Dinahwon'tyoublow,Dinahwon'tyoublowyourhorn?"Someone'sinthekitchenwithDinah,someone'sinthekitchen,Iknow.Someone'sinthekitchenwithDinah,strummin'ontheoldbanjo,asingin'Fee-fie,fiddle-e-i-o,Fee-fie,fiddle-e-i-o-o-o-o,Fee-fie,fiddle-e-i-o,Strummin'ontheoldbanjo.

Appalachian Music ManyofAmerica'sfolkmusictraditionscomefromAppalachia—a12-stateregionoftheeasternandsouthernUSaroundtheAppalachianMountains(SeeFigure2).

Figure2.Appalachia


11

AppalachianMusicisderivedfromvariousEuropeaninfluences,includingsacredhymns,Englishballads,IrishandScottishtraditionalmusic(especiallyfiddlemusic),andsometimesincorporatedelementsofAfrican-Americanblues.AuthenticAppalachianmusicianswerefirstrecordedinthe1920s,whichledtoarenewedinterestin"Old-Time"Music(whichcanfeaturefiddle,mandolin,guitar,banjo,bass,dulcimer,harmonica,jawharp,accordion,jugs,washboards,andspoons),aswellasspawningthenewpopularstylesof"Country&Western"andBluegrass("hillbilly")musicinthe1930sand40.Inrecentyears,rootsmusichasbeenthefocusofpopularprogramssuchasthelong-runningliveradiovarietyshowAPrairieHomeCompanion(hostedbyGarrisonKeillorfrom1974-2016)OnefamoustraditionalAmericanfolkgroupwasTheCarterFamilyfromtheAppalachianareaofsouthwestVirginia.TheoriginaltriowascomprisedofA.P.Carter(whoplayedfiddle,sangbass,andcollectedhundredsofAmericanfolksongs),hiswifeSara(whoplayedautoharpandsangleadalto),andSara'scousin"MotherMaybelle"(whoplayedguitarandsangharmony).From1927-1943,theoriginalCarterFamilytriorecordedover300old-timeballads,traditionaltunes,countrysongs,andGospelhymns—allrepresentativeofAmerica'ssoutheasternfolkloreandheritage.Theirfamous1928recordingof"WildwoodFlower"(anadaptationofasongfromtheCivilWarera)becameastandardthathasbeenperformedandrecordedeversincebynumerousfolkandcountrysingersin"cover"versions(whicharesungbysomeoneotherthantheoriginalartist).TheCarterFamilyalsobecameearlycountrymusicstarswhenthe"Country&Western"stylebegantobreakawayfromtraditionalfolkmusic(see"EarlyCountry&WesternMusic"inthediscussionof"AmericanPopularMusic,"below).

***

III.OtherProminentTypesofAmericanRootsMusicintheEarly1900sCajun Music CajunmusicisrootedintheballadsofLouisiana'sFrench-speaking"Acadian"peoplewhoaredirectdescendantsofFrenchcolonialsettlersfromeasternCanada'sMaritimeProvinces.ThefirstrecordingofauthenticCajunmusicwasmadein1928bytheCreoleaccordionplayer/singerAmédéArdoin.Inthe1920s,Cajunmusicblendedwithbluesandrhythm&bluesstylestocreatezydecomusic,whichiswidelypopular.Theearliestrecordeduseoftheterm"zydeco"camefromtheCountry&WesternmusicalgroupcalledtheZydecoSkilletLickers,whorecordedthesong"ItAin'tGonnaRainNoMo"in1929.TheseFrench-LouisianasoundshaveinfluencedAmericanpopularmusicformanydecades,especiallycountrymusic,andhaveinfluencedpopculturethroughannualmassmediacoverageofMardiGras(whichisthe"FatTuesday"celebrationthatoccurseachyearonthedaybeforethe40-dayLentenseasonofChristianself-sacrificethatstartswith"AshWednesday").


12

Native-American Music Therehavebeenover550differentNative-Americantribes,whichmaybeclassifiedintofourmajortribalregionsthathavedistinctlydifferentmusicalstyles:thePlains,Southwest,EasternWoodlands,andPacificNorthwest.Eversincetheinventionofsound-recordingtechnology,researchershavetriedtodocumentandunderstanditsrichtraditions.Native-Americansingersusetheirtriballanguagesaswellasvocables(soundsthathavenospecificmeaning,suchas"hey-ya")tointonetheirsongs,whichwereusedinceremoniesandtocommunicatewithsupernaturalpowerstocurethesick,bringrain,orensuresuccessinbattle.Formanytribes—especiallythePlainsIndians—thedrumrepresentsa"heartbeat"thatcanbetracedbacktotribalhunting,warfare,andsacredactivities.AfterbeingrelocatedtoreservationsbytheUSgovernment,Native-Americanshavefrequentlyusedmusictorelieveboredomanddespair.Asneighborsgatheredtoexchangeandcreatesongsanddances,thebasisofthemoderninter-tribalpowwowwasborn.AlthoughNative-AmericanmusichasnothadmuchofadirectinfluenceonothermusicintheUnitedStatessince1900,areverseinfluencehasledtodistinctNativeAmericansubgenresofpopularmusicincludingrock,blues,hiphop,classical,filmmusic,andreggae,aswellasuniquepopularstyleslikewaila("chickenscratch").Mexican-American Music Forcenturies,peopleofMexicanheritageinhabitedpartsofTexas,NewMexico,Arizona,Colorado,Utah,Nevada,andCalifornia.Theirmusictraditionssuchasrancheras(traditionalMexicansongssungbyonlyoneperformerwithaguitar)andtheMariachi(traditionalMexicandancemusicplayedbyasmallbandwithsingers,violin,trumpet,andafullrangeofacousticguitars)wereengrainedinthecultureofthoseareasinvariouswaysandarestillwidelyheard.

American Popular Music in the Early 1900s

I.TraditionalPopularStylesintheEarly1900sAmerican Pop Songs around 1900 From1890to1905,commercialsongsintheUSwerecarryingontheconservative"Gay'90s"style,representedbysuchturn-of-the-centurystandardsas"AfterTheBall"(1891),"ABicycleBuiltforTwo"(1892),"BillBailey,Won'tYouPleaseComeHome"(1902),"IntheShadeoftheOldAppleTree"(1905),and"TakeMeOuttotheBallgame"(1906—atransitiontothe"TinPanAlley"era,whichraisedthesophisticationofpopularsongcompositioninmanyways,seebelow)Barbershop Singing Inthelasthalfofthe1800s,USbarbershopsoftenservedascommunitycenters,wheremostmenwouldgather.BarbershopquartetsoriginatedwithAfrican-Americanmenharmonizingspirituals,folksongsandpopularsongswhilewaiting


13

theirturn.Thisgeneratedanewstyleofunaccompanied,tight4-part-harmonysinging.Whiteminstrelsingersadoptedthestyle,andintheearlydaysoftherecordingindustrytheirperformanceswererecordedandsold.Earlystandardsincluded"ShineOn,HarvestMoon","Hello,MyBaby",and"SweetAdeline".Barbershopquartetstypicallydressinstraw"boater"hatsandverticalred-and-whitestripedvests.Barbershopmusicwasverypopularbetween1900and1919butgraduallyfadedintoobscurityinthe1920s—althoughithasenjoyedarevivalinrecentyearsthroughtheeffortsoftheBarbershopHarmonySociety.Tight"barbershopharmonies"alsoremaininevidenceintheacappella12musicoftheblackchurch,andinvariouspopularvocalgroupsfromthe1940stothepresent.Minstrelsy Inthemid-to-late1800s,atypeofvarietyentertainmentcalledminstrelshowscriss-crossedAmericainbigandsmallmusichalls,saloons,beergardens,andvarietytheaters.Theseshowswerecomprisedofcomicskits,musicanddancing,usuallyperformedbywhiteswearing"blackface"makeupandmimickingblacktraditionsinstereotypedderogatoryfashion.AlthoughminstrelsywasopeneduptoAfrican-AmericanperformersaftertheCivilWar,theuncomfortableracialovertonesledtoarapiddeclineinpopularity.Vaudeville Around1900s,anewtypeofvarietyentertainmentcalledvaudevilleemerged.Theseshowsfeaturedawiderrangeofperformerssuchascomedians,jugglers,acrobats,actors,animaltrainers,magicians,dancers,singers,andinstrumentalistsofalldifferentnationalities,whointroducedallAmericanstoanationalhumorandrepertoirethroughthesamejokes,songsandroutines.Manyofthesevaudevilleactsgarneredenoughpopularitytomakethemstarsonradio,television,andthemoviesinthedecadestocome,includingtheMarxBrothers,GeorgeBurns,AbbottandCostello,andMiltonBerle,tonameafew.

The Ziegfeld Follies TheZiegfeldFollieswereannualhigh-classvaudevillevarietyshowsconceivedandmountedaselaboratetheatricalproductionsonBroadwayinNewYorkCitybyFlorenzZiegfeldfrom1907to1931.TheFollieswerefamousforitslargechorusofbeautifulZiegfeldGirlswhoparadedupanddownflightsofstairsonlavishsetsinextravagantcostumesbymajorfashiondesigners—dressedasanythingfrombirdfeatherstobattleships.Manyofthetopentertainersoftheera(W.C.Fields,EddieCantor,FannyBrice,BobHope,WillRogers,RayBolger,HelenMorgan,MarilynMiller,EdWynn,SophieTucker,andothers)appearedintheshows.Tin Pan Alley VariousUScitieswerecentersforpublishingprintedmusicforchoirs,orchestras,bands,smaller"chamber"ensembles,andpiano,butbythelate1880s,NewYorkCityhadbecomethecapitalofanewkindofmusicpublishingfocusedexclusivelyon12Theterm"acappella"referstomusicthatissungwithoutinstrumentalaccompaniment.


14

sheetmusicforpopularsongs.Theterm"TinPanAlley"referstotheoriginalcenterofthisactivity(West28thSt.,betweenBroadwayand5thAvenue),whereso-called"song-pluggers"plinkedtheir"tin-pan"pianosalldayinhopesofgettingapublisherinterestedintheirsongs.Fromthe1920sthroughthe1950s,thegreatesthitsoftheZiegfeldFollies,Broadwayshows,movies,andradiowerewrittenandsoldinsheetmusicformthroughcompanieslocatedinTinPanAlley.ThemostsuccessfulTinPanAlleyfigureandperhapsthegreatestsongwriterinAmericanhistorywasIrvingBerlin,whocomposed1,500songsinhis60-yearcareer,includingthescoresfor19Broadwaymusicalsand18Hollywoodmovies.HewroteuncomplicatedmusicwithdirectlyricsaimedattheheartoftheaverageAmerican.Hisfirstmajorhit,"Alexander'sRagtimeBand"(1911),sparkedaninternationaldancecraze.Manyofhissongsbecamestandardsthatarestillfamoustoday,suchas"GodBlessAmerica"(1918),"HowDryIAm"(1919—writteninresponsetothenationalprohibitionofalcohol),"EasterParade"(1933),and"WhiteChristmas"(1942—thebest-sellingsongofalltime).Early "Country & Western" Music TheCarterFamily(discussedabovein"AppalachianMusic")werethefirstvocalgrouptobecomeearlycountrymusicstarswhenthe"Country&Western"stylebegantobreakawayfromtraditionalfolkmusicinthelate1920s.Theirmusicasheardonradioandrecordingshadaprofoundimpactonmanybluegrass,country,SouthernGospel,pop,androckmusicians.TheCarterFamilyexpandedtoincludeyoungerfamilymembersinthe1940sand50s,whoweremorein-tunewiththeneweremergingstyles.Oneoftheyoungerdaughtersofthisfamily—themulti-talentedJuneCarterbecamethewifeandmusicalpartneroflegendarycountrysingerJohnnyCash.Anotherleadingfigurewhomadethetransitionfromfolkrootstoearly"Country&Western"stardomwasJimmieRodgers(1897-1933)—arailroadbrakemanknownforhis"CountryBlues"stylethatfeaturedsinging,yodeling,andsimple"thumb-and-brush"guitarplaying,suchasheardinhisfamous"BlueYodelNo.8(1930).The Grand Ole Opry OneofthebiggestreasonsthisAmericanfolk/earlycountry&westernmusicgainedsuchrapidpopularitywastheGrandOleOpry,whichwasstartedin1925inNashville,Tennesseeasaweeklystageconcertofamateurperformers.Bythe1930s,itbecamea4-hourSaturdaynightnationally-broadcastradioshowcaseforlegendsandrisingstarsofcountrymusicthatisstillheardbymillionsallacrossthenation,earningNashvillethenickname"MusicCity"andmakingitthecountrymusiccapitaloftheworld.Musical Theater and Film Music Duringthisera,musicaltheatre—alight,stagedtheatricalplayinterspersedwithsongsanddancing—becamemoreandmorepopular,blendingaspectsofextravagantvaudeville-styleproductionsandlightopera.Bytheearly1900s,the


15

popularityofthesetypesofmusicalsintheBroadwaytheaterdistrictofNewYorkCityeventuallyledtoanetworkofnationalshowtoursinvolvingover700theatersacrosstheUS.Afterthefirstfilmwithsound,TheJazzSinger(1927)—withAlJolsonintroducingsixhitsongs—composersbeganwritingnewmusicalscoresforHollywoodfilms,andmanymusicalcomedieswereadaptedfromtheBroadwaystagetothemovies,wheretheygainedamuchwideraudience(seeChapter3).OneofthemostsuccessfulAmericantheatricalcomposersGeorgeGershwinwrotenumeroushitsongs,musicalcomedies,anopera,andfilmscoreswithtraditionalandblues/jazzelements13.Agreatexampleofhisexcitingnewstyleis"I'veGotRhythm"fromtheBroadwaymusicalGirlCrazy(1930).ThesongwritingteamofJeromeKernandOscarHammersteinIIwrotethemostinfluentialmusicaloftheera,asexemplifiedbythemega-hitBroadwaymusicalShowboat(1927),featuring"ICan'tHelpLovin'DatMan"and"Ol'ManRiver".

II.NewAmericanPopularStylesintheEarly1900s

Ragtime Ragtime—astyleoflivelypianomusicthatwasprominentbetween1895andtheendofWorldWarI—emergedoutoftheso-called"honky-tonk"styleplayedinsaloonswestoftheMississippiRiver.Itisrecognizedby"ragged"syncopatedrhythmsintheright-handmelody,accompaniedbystrongstraight-beat"oom-pah"chordsintheleft-hand.Itbeganasimproviseddancemusicinthe"red-light"prostitutiondistrictsofSt.LouisandNewOrleans,butitbecameimmenselypopularallacrossAmericaafterthepublicationofMapleLeafRag(1899)andTheEntertainer(1902)bytheAfrican-Americanpianist-composerScottJoplin,whoalmostsingle-handedlymadethestylefamous.Joplindidnotmakeanyactualdiscrecordings,buthisragtimemusicmadeitswayacrossAmericathroughhisrecordingsonperforated"paperrolls"thatwereabletobeperformed"live"onthenickelodeon(aself-playingmechanical"playerpiano"). The First "Commercial Blues" Styles 14 Intheearly1900s,awidely-disseminatedandpopularstyleknownasthe“ClassicBlues”developed,featuringablackfemalesingeraccompaniedbyeitherapianistorasmallinNewOrleans-styleback-upband(trumpet,bass,piano).ThemostrenownedsingersinthisearlystyleareGertrude"Ma"RaineyandBessieSmith.Inthe1920sand'30s,ClassicBlues,earlyjazz,andothertypesofblackrootsmusicwererecordedbysmallindependentrecordcompanieswhoputthelabel"RaceMusic"15directlyontheirrecordstospeciallymarketthemtoAfrican-Americanand13ThelyricsofmanyofGershwin'shitsongswerewrittenbyhisolderbrotherIraGershwin.14Theoriginal"blues"isatypeofrootsmusic,butlaterderivativetypessuchasthe"ClassicBlues"and"DeltaBlues"werespecificallywrittenaspopularmusictobesoldbyrecordcompanies.15Althoughtheterm"RaceMusic"maysoundderogatorytoday,itwasnotviewedthatwayatthetimebecauseasupporterofracialequalitywasoftenreferredtoasa"raceman"or"racewoman."ThetermdiedoutafterWorldWarII,becausethebluesandjazzhadbecomepartofthemainstream.


16

interculturally-awareWhitelisteners—sincetheserecordingswerenotavailableonanymajorrecordlabelatthetime.Inthe1930s,anotherstylecalledthe"DeltaBlues"("CountryBlues")emergedfromtheMississippiDeltaregion(fromMemphis,TennesseetoVicksburg,Mississippi).Themostfamous"DeltaBlues"musicianisRobertJohnson,asinger/guitarist/songwriterwholearnedbymimickingracemusicrecordingsinthelate1920s,andthenwentontomakeseverallandmarkrecordingssuchas"CrossRoadBlues"(1936)justbeforehediedmysteriouslyatage27. Jazz JazzisAmerica'smostuniqueandenduringpopularmusicaltradition,withitsspecialblendofAmerican/WestAfrican/WesternEuropeanharmony,structureandinstrumentation.Startingintheearly1900s,variousjazzandtraditionshavesproutedupindifferentpartsoftheUS,andtheirdistinctAmericansoundhasfascinatedlisteners,performersandcomposersaroundtheworld.InNewOrleansintheearly1920s,African-Americanmusiciansmadethetransitionfromragtimetoearlyjazz,creatingastyleknownas"DixielandJazz"or"HotJazz",withsnappysyncopatedrhythms,afasttempo(speed),andgreaterfocusonthesoloistimprovisingoverstandardbluespatterns.Thegreatestfigureofearlyjazzisthetrumpeter-singerLouisArmstrong,whobeganinNewOrleans,thentookHotJazztonightclubsinChicagoandNewYorkCitythatwereownedbygangsterssellingillegalalcoholduringtheProhibitionera.Armstrongwasnotonlythefirstgreattrumpetvirtuosoofjazz,buthebecameitsmostinfluentialsinger,inventingthe"scat"singingstyleofimprovisingonnonsensicalsyllablestomakethevoicesoundlikeaninstrument.Hisrecordinggroups,TheHotFiveandTheHotSeven,weresmallcombosfeaturingatrumpet,trombone,clarinet/saxophone,andarhythmsectionofpianoandguitar/banjo.

AllJazzstyleshavetwocommonfeatures:"Swing"feelingandImprovisation.

"Swing"feelingisarhythmicphenomenonthatisprojectedthroughthewaythedrumsandbassexpressthebeat,howthepianointeractswiththebassanddrums,andhowthebeatisdividedupincomplexways.

Improvisationcanbebestdescribedas"composingandperformingatthesametime."Ajazzmusicianreliesonthreebasicelementsofthesongtodevelopanimprovisation:melody,harmony,andform(whichisusuallyabasicbluespattern)._______________

Jazzcombogroupsusuallyfeaturevirtuosoperformersonthefollowinginstruments:RhythmSection:-aBassinstrument,pluckedbythefingers,oftenprovidinga"walkingbass"-OneormoreHarmonyinstruments(Piano,Guitar,Organ,Banjo)-Drums

Soloist(s):oneormoreinstruments-saxophone,trumpet,clarinet,trombone,flute,vibraphone,etc.)

***


17

American "Classical" Music in the Early 1900s Traditional Band Music TheUSdidnothaveaninternationalmusicalreputationuntilJohnPhilipSousa.HewasDirectoroftheUnitedStatesMarineCorpsBand("ThePresident'sOwn")from1880to1892,andthenconductedhisown70-pieceSousaBandinover15,000concertsaroundtheworldfrom1892to1931.HeisknownforsettingthestandardforAmericanmilitaryandnationalisticpatrioticmarches,suchasTheStarsandStripesForever(1897),whichistheofficialnationalmarchoftheUSA.Blending of Art-Music and Popular Music GeorgeGershwinwasalsothefirstAmericancomposertosuccessfullycombinepopularandseriousstyles.In1924,GershwinpremieredRhapsodyinBlue—hisground-breakingmergerofjazzand"classical"music,orchestratedbyFerdeGrofé,16andcommissionedbybandleaderPaulWhitemanaspartofafour-hourconcertadvertisedas"AnExperimentinModernMusic."TheenormoussuccessofthisworkcompelledGershwintowritetwoothersignificantjazz/classicalmergers:1)thesymphonicpoem17AnAmericaninParis(1928),and2)themonumentalAmerican"folk-opera"PorgyandBess(1935;moreonthisinChapter3). American "Classical" Art-Music Aroundthestartofthe1900s,severalNewEngland-basedcomposerssuchasEdwardMacDowell,HoratioParker,andAmyBeachwerewritingAmericansymphonic,chamber,keyboard,art-songsandchoralmusic18basedon19th-centuryEuropeanmodels.MacDowell'sSuiteNo.2forOrchestra(1897)—oftenreferredtoasthe"IndianSuite"—isa5-movementworkbasedlargelyonNative-Americantraditions19:

Movement1:"Legends"Movement2:"LoveSong"(basedonalovesongfromtheIowatribe)Movement3:"InWar-Time"Movement4:"Dirge"(athrenody)Movement5:"Village"(basedontwoIroquoismelodies")

Bythistime,theMetropolitanOperainNewYorkCity(whichopenedin1883),hadbecomeinternationallyknownbyproducingthelate19th-centuryRomantic-erastageworksofGermany'sRichardWagner,aswellasthelightoperettasofEngland's16FerdeGroféwasarenownedAmericancomposer,arranger,andpianist.HedidmanyarrangementsforthePaulWhitemanOrchestrabutisbestknownforhisGrandCanyonSuite(1931).

17A"symphonicpoem"isa1-movementart-workfororchestraintendedtoprojectaspecificimageorstorythroughsound(withoutsungwords).

18"SymphonicMusic"isfororchestra;"ChamberMusic"isforsmallgroupsofinstruments;"KeyboardMusic"includesworksforpianoororgan;"Art-songs"arepiecessettohigh-levelpoetryforasingeraccompaniedbypianoororchestra;"ChoralMusic"isforchoir.

19A"suite"isamulti-movementworkfororchestraorkeyboard,featuringcontrastingpicturesquemovementsordances.


18

GilbertandSullivan.Between1900and1920,EnricoCaruso,thefamedoperatictenorfromItaly,madeover850appearancesat"theMet,"aswellasover250early78-rpmphonographrecordingsthatwereheardallacrossAmerica.Experimental American "Art-Music" of the Early 1900s AninsurancesalesmanfromConnecticutnamedCharlesIvesusedamuchmoredaringlymusicalapproach,suchasstatingseveralcompletelydifferentmelodies/rhythms/keysatthesametime,andoftenquotedfamousAmericanpatrioticandCivilWarmelodiesinhisworks.Duringhislifetime,hismusicalexperimentsweremostlyrejectedbyaudiences,buttodayhisinnovativegeniusiswidelyrecognized.OneofhisearliestandmostfamousworksisTheUnansweredQuestion(1908),whichshowshumankindstrugglingtocontemplatetheage-oldquestionthatwesooftenchoosetoignore:"Whydoweexist?/"Whyarewehere?"Ivesdepictsthisbysimultaneouslypresentingthreecompletelydifferentideas:

1)"TheSilenceoftheDruids":aslowdescendingtonal20melodyrepresentingancientCelticpriestswhopracticedanimalandhumansacrificesandwereso"sure"ofwhattheybelievedthattheyrefusedtohearanythingelse.

2)"TheQuestion":Ashort,jaggedatonal21melodyplayedbyasingletrumpetthatperiodicallymakesitpresenceknown.

3)"TheFightingAnswerers":aquartetofwoodwindinstrumentswhotrytheirbesttoanswerthequestion,butwhentheydisagree,theirmusicbecomesmoredissonantandtheygiveup.

AnevenmoreexperimentalAmericancomposerduringthistimewasHenryCowell,whoemployedextremelyunusualtechniquesforexpressionandintensity,suchasthoseseeninTheBanshee(1925)andAeolianHarp(1930),whichmustbeplayedbytheperformerdirectlyontheopenstringsofagrandpianousingtheirhandsandfingernails!

***

20"Tonal"musichasa"home"key,andwasthetraditioninwesternculturefromc1600-1900.

21"Atonal"musicintentionallyavoidsahomekeyandismuchmoredissonant(harsh-sounding).


19

ReviewofImportantTermsFromChapter2

• "Cover":AversionofasongNOTdonebytheoriginalartist

• 12-barblues:astandardbluesstructuraldesignthathasaI-IV-V-Ichord/harmonypattern.

• Appalachia:a12-stateregionoftheeasternandsouthernUSwheremuchofAmerica'sfolkmusictraditionscomefrom.

• Atonalmusic:musicthatintentionallyavoidsahomekeyanddissonant(harsh-sounding)

• BarbershopQuartet:amen'sgroupthatsingsintight4-partharmony,typicallydressedinstraw"boater"hatsandverticalred-and-whitestripedvests.

• CajunMusic:southernLouisianamusicofFrenchAcadianorigin

• ClassicBlues:anearlystyleofcommercialbluesthatbeganinthe1920sasperformedbysmallgroupswithablackfemalesingeraccompaniedbyapianist(andsometimestrumpetandbass).

• CowboySongs:traditionalsongsoftheoldAmericanWest

• DeltaBlues:anearlytypeofrawcommercialbluesthatdevelopedintheareafromMemphis,TNtoVicksburg,MS,representedbythemusicofRobertJohnson.

• Electricmicrophone:amajorbreakthroughin1925thatmadeitpossibletocapturemorerealisticsoundtoplaybackonelectricphonographs,andaddsoundtomotionpictures.

• Gramophone:theearliestversionofthephonograph

• GrandOleOpry:AstagedmusicconcertfeaturingcountrystarsthathasruninNashville,TNeveryweeksince1925.

• "Hot"Jazz:anearlystyleofDixielandjazzmadefamousbytrumpeter-singerLouisArmstrong.

• Mistrelsy:amid-to-late1800typeofAmericanlivevarietyshowwithcomicskits,musicanddancing,usuallydonebywhiteperformerswearing"blackface"makeup.

• MusicalComedy:alight,humorousstagedtheatricalplaywithsongsanddancing.

• Old-TimeMusic:atypeofAppalachianfolkmusicplayedonfiddle,mandolin,guitar,banjo,bass,dulcimer,harmonica,jawharp,accordion,jugs,washboards,andspoons.

• Playerpiano:amechanizeduprightpianothatcouldperformmusicbyitselffromaperforated"pianoroll"recording.

• RaceMusic:Atermputdirectlyonrecordlabelsinthe1920sand'30sbysmallindependentcompaniesthatmarketedblackrootsmusicspecificallytoAfrican-Americanlisteners.

• Ragtime:astyleoflively,syncopatedearly1900spianomusicmadefamousbyScottJoplin.

• Spirituals:SacredandexpressiveworksongsimprovisedbyAfrican-Americanslaves.

• Suite:amulti-movementworkfororchestraorkeyboard,featuringcontrastingpicturesquemovementsordances.

• CarterFamily:afamoustraditionalAmericanfolkgroupfromAppalachianVirginiawhobecameearlyCountry&Westernstars.

• TinPanAlley:ThenicknamefortheareaofNewYorkCitythatbecamethecenterforsheetmusicpublishingofpopularsongs.

• Vaudeville:atypeofAmericanlivevarietyshowthatemergedaround1900,featuringcomedians,jugglers,acrobats,actors,animaltrainers,magicians,dancers,singers,etc.

• ZiegfeldFollies:annualhigh-classvaudevillevarietyshowsfrom1907to1931conceivedandmountedaselaboratetheatricalproductionsonBroadwayinNewYorkCity.

• Zydeco:ablendingofCajun,blues,andR&Bstyles,createdbysouthern-LouisianaCreolesofFrench,SpanishandAfricandescent.


20

ReviewofImportantMusicalExamplesfromChapter2

Roots/FolkMusicCowboySong"HomeOntheRange"(published1905)

TraditionalAmericanFolkMusicTheCarterFamily:"WildwoodFlower"(1928)

Early"Country&Western"MusicJimmieRodgers:"BlueYodelNo.8--MuleskinnerBlues"(1930)

PopularMusicEarly"Classic"Blues(commercialblues)BessieSmith:"LostYourHeadBlues"(1926)

"Delta"Blues(commercialblues)RobertJohnson:"CrossRoadBlues"(1936)

"TinPanAlley"PopularSongIrvingBerlin:"GodBlessAmerica"(1918)

SongsfromBroadwayMusicalsJeromeKernandOscarHammerstein:"Ol'ManRiver"fromShowboat(1927)GeorgeGershwin:"I'veGotRhythm"fromGirlCrazy(1930)

RagtimepianomusicScottJoplin:TheEntertainer(1902)

HotJazz(DixielandJazz)LouisArmstrong:HotterThanThat(1927)

"Classical"MusicAmericanBandMusicJohnPhilipSousa:TheStarsandStripesForever(1897)

BlendedClassicalandEarly-Blues/JazzStylesGeorgeGershwin:RhapsodyinBlue(1924)

American"Classical"Musicfromc1900EdwardMacDowell:SuiteNo.2forOrchestra("IndianSuite,"1897)

ExperimentalArt-MusicCharlesIves:TheUnansweredQuestion(1908)HenryCowell:TheBanshee(1925)

Documents

Chapter 2 Music in the United States Before · PDF fileMusic in the United States Before the Great Depression Background: The United States in 1900-1929 In 1920 in the US ... Piano