Popular music 1900 30 2013

Popular
music
in
the
period

1900-‐1930

In
Britain
and
America

General
Books

Ê  Fletcher,
P.
2001.
World
Musics
in
Context
(Oxford:
OUP)

Ê  Frith,
S.
Straw
W.
2001.
The
Cambridge
Companion
to
Pop
and

Rock.
(Cambridge:
CUP)

Ê  Middleton,
R.
1990.
Studying
Popular
Music.
(London:
Open
UP)

Ê  Shuker,
R.
2001.
Understanding
Popular
Music.
(London:

Routledge)

Books
larke,
The
his
nd
Fall
of
Popular
Music,
Penguin,
1995.

for
t Rise
a Lecture

Ê  Donald
C
Ê  Dave
Russell,
Popular
Music
in
England,
1840-‐1914
A
Social
History,
Manchester

University
Press
(1987)

Ê  Paul
Oliver,
Black
Music
in
Britain
OUP,
1990.

Ê  Arnold
Shaw,
Black
Popular
Music
in
America,
Macmillan,
1884

Ê  Tony
Palmer,
All
you
need
is
Love,
The
Story
of
Popular
Music
1976.

Ê  Paul
Oliver,
Songsters
and
Saints,
CUP
1984

Ê  Peter
Van
der
Merwe,
Origins
of
the
Popular
Style,
Oxford
1989

Ê  Wilder,
Alex,
American
Popular
Song,
New
York,
1990

Ê  Ted
Gioia,
The
History
of
Jazz,

Ê  Ed.
Mervyn
Cooke
and
David
Horn,
The
Cambridge
Companion
to
Jazz,
CUP,
2002,
pp.

9-‐32

Ê  Gunter
Schuller,
Early
Jazz,
1968,
pp.
63-‐133

Ê  Lomax,
Alan,
Jelly
Roll
Morton,

Essay
Title

Ê  Trace
the
development
of
popular
song
and
dance
forms
from

the
beginning
of
the
twen]eth
century
to
the
1930s.

Discuss

Music
Halls,
Tin
Pan
Alley,
Rag]me
and
Early
Jazz,
Musicals,

Radio
and
Film.

To
what
extent
was
success
reliant
on
the

mechaniza]on
of
media
forms?

Popular
music
and
the
masses

Ê  One
deﬁni]on
is
that
poplar
music
is
‘Music
of
the

masses’
(I.e.expanding
urban
middle
classes).

Ê  ‘Mass
market
for
published
music
since
the
]n-‐pan
alley
era

in
the
USA
and
Europe
(1880s
-‐
1930s’)’.

Ê  Dissemina]on
by
sheet
music,
then
also
gramophone
and

later
forms
of
recorded
sound.

Ê  Exploited
for
commercial
gain.

Popular
because
it
sold
well.

Ê  From
the
60s
it
has
become
a
world-‐wide
phenomena

dominated
by
North
American
forms
and
styles.

Ê  Before
the
1960s
it
was
industrialised
but
not
global.

Pop
verses
Popular
Music

Ê  ‘It
is
tempting
to
confuse
pop
music
with
popular
music.
The

New
Grove
Dictionary
Of
Music
and
Musicians,
the

musicologist's
ultimate
reference
resource,
identiﬁes
popular

music
as
the
music
since
industrialization
in
the
1800's
that
is

most
in
line
with
the
tastes
and
interests
of
the
urban
middle

class.
This
would
include
an
extremely
wide
range
of
music

from
vaudeville
and
minstrel
shows
to
heavy
metal.
Pop

music,
on
the
other
hand,
has
primarily
come
into
usage
to

describe
music
that
evolved
out
of
the
rock
'n
roll
revolution

of
the
mid-‐1950's
and
continues
in
a
deﬁnable
path
to
today.’

Mass
Culture
Theory
–
the
starting

point

-‐
See
previous
slides

Ê  Concepts
of
Mass
Culture
and
Mass
Society
based
on
divisions

into:

Ê  1.
High
Art
–
not
for
commercial
gain
(supposedly).

Beethoven,
etc.

Ê  2.
Folk
Art-‐
from
below
as
an
expression
of
the
people

Ê  3.
Mass
Media/Mass
Culture

Ê  Mass
culture
theory
holds
that
through
`atomisa]on’

individuals
can
only
relate
to
each
other
like
atoms
in
a

chemical
compound.

Individuals
are
vulnerable
to

exploita]on
by
core
ins]tu]ons
of
mass
media
and
pop

culture.

(example
of
rise
of
Nazism
in
1930s
and
Orwell’s

1984)

Popular
Music
of
the
pre-‐industrial
Age

Ê  Origins
of
popular
music

Ê  Elizabethan
Broadside
ballads
–
idea
exported
to
America.

Commercially
printed
from
16th
to
18th
century.
Tabloids
of
the

age.

Ê  Common
stock
of
tunes
for
ballads
and
songs

Ê  Ballad
tunes
from
Dancing
Master
onwards

Folk
Music

Ê  Its
history
and
con]nua]on
in
both
America
and
Britain.

Ê  Constantly
re-‐inven]ng
itself.

A
series
of
revivals.

Ê  Always
has
both
a
conserva]ve
and
forward
looking
aspect.

Ê  Both
urban
and
rural.

Populist
and
purist.

Ê  Many
connected
with
trades
and
the
sea.

Ê  Crossovers
with
commercial
popular
music.

Industrial
Urban
Working
Class

Ê  Industrial
Revolu]on
produced
an
expanding

lower
middle-‐class
and
upper
working-‐class
with

suﬃcient
wealth
and
]me
to
support
a

commercial
music
prin]ng
industry
based
on

widespread
ownership
of
home
pianos.

Novellos,
Booseys,
etc.

A
large
amount
of

popular
music
printed
at
this
]me.

Rag]me
Scot

Joplin

was
made
famous
through
sheet
music.

Era
of
sheet
music.

1.
Sheet
Music
-‐
Tin
Pan
Alley
–
Denmark

Street

Tin
Pan
Alley
con]nued

Ê  Piano
industry
at
its
height
in
Edwardian
era
–
piano
pieces

songs
and
solos
(two
hands
especially)
produced
by
Tin
Pan

Alley.

‘Daisy
Bell’(1892)

Ê  Early
19th
century
dance
halls
and
pleasure
gardens
of
Vienna,

Strauss’s
music,
Military
band
music,
Sousa
marches,
patrio]c

songs,
operega
and
music
hall
provided
much
of
the
material

for
Tin
Pan
Alley
–
at
its
height
1880s
to
1920s.

This
era
now
a

huge
area
of
research
–
looking
at
how
the
printed
output

reﬂects
the
na]onalis]c
and
moralis]c
concerns
of
the
day.

Ê  Age
of
the
player
piano.

Over
by
the
1930s.

Its
advantages

were
that
you
had
someone’s
performance
but
you
could
also

control
it.

2.
Records
and
Recorded
Sound

Ê  1890s
saw
the
start
of
recorded
sound
with
Thomas
Edison’s
inven]on
of
the

phonograph
1877.

Eddison
tape.

Ê  Many
19th
century
personali]es
were
recorded
–
Queen
Victoria,
Edison,

Brahms,
Arthur
Sullivan

Ê  Quickly
the
effects
on
the
prac]ce
of
music
became
apparent.
Emile
Caruso

(1873-‐1921)the
first
recorded
ar]st
to
achieve
a
huge
audience
through

recordings
rather
than
live
performance.

Ê  Elgar
the
first
composer
to
be
ac]vely
involved
with
the
recordings
of
his
own

works.

All
done
without
electric
microphones.

Ê  By
1900
recordings
were
commonplace
and
all
sorts
of
music
was
available
–

popular,
opera,
military,
world
music,
etc.

Ê  Early
companies
successful
–
and
some
even
around
today.

Ê  Caruso
singing
‘Cielo
e
Mar’
from
la
Giaconda
by
A.
Pionchielli

3.
Radio

Ê  Radio
became
the
medium
of
the
na]on
and

was
used
for
poli]cal
effect
everywhere.

Ê  The
BBC
monopoly
was
copied
all
over
the
world

–
Aun]e
and
Lord
Reith.

America
had
a
different

approach
and
popular
music
flourished
on
radio

here.

Ê  During
the
40s
record
sales
con]nued
to
fall
as

Radio
seemed
to
be
the
future.

BBC
1922

Ê  The
British
Broadcasting
Company,
as
the
BBC
was
originally

called,
was
formed
on
18
October
1922
by
a
group
of
leading

wireless
manufacturers
including
Marconi.
Daily
broadcasting
by

the
BBC
began
in
Marconi’s
London
studio,
2LO,
in
the
Strand,
on

November
14,
1922.

Ê  This
was
followed
the
next
day
by
broadcasts
from
Birmingham

and
Manchester.
Reith,
a
33-‐year-‐old
Scottish
engineer,
was

appointed
General
Manager
of
the
BBC
at
the
end
of
1922.

Ê  Within
a
year
the
ﬂedgling
BBC
had
broadcast
plays,
concerts
of

popular
and
classical
music,
talks
and
variety
programmes.
There

was
some
news
but
in
the
early
days
only
after
7pm
to
avoid

upsetting
the
sales
of
newspapers.

Radio
Era

Ê  In
1920s
the
huge
popularity
of
dance
music
(Charleston,

Blackbogom,
etc)
and
early
Jazz
produced
a
new
a
greater

demand
for
records
and
gramophones.
–
For
dancing
in
the

home.

Ê  Inven]on
of
electric
microphone
a
breakthrough
for
radio
and

recordings.

In
use
from
1925.

Ê  In
the
late
1920s
and
especially
aker
the
Wall
Street
crash
radio

began
to
take
over
as
the
main
medium
for
popular
music.

Basic
crystal
sets
were
cheap.

Ê  The
quality
was
oken
beger
than
shellac
records
which

scratched
easily.

The
live
event
was
brought
into
the
home.

Ê  Radio
brought
music
into
working
class
homes.

Popular
music
in
Britain
in
the
ﬁrst

decades
of
the
20th
century

Ê  Gave
way
to
America
–
looked
to
for
new
styles
and
technical

innova]on.

Ê  Less
commercially
driven
–
lots
of
state
interven]on.

Ê  Less
networked
–
America
had
Hollywood,
Broadway,
Radio

and
Records
working
together
much
more.

E.g.
Bing
Crosby

used
all
the
media.

Ê  Many
stars
went
to
America
–
because
of
Holywood
–
e.g

Chaplin

Chaplin
1917
Movie
(moved
to
America

by
1913
–
World
famous
by
1918)

Britain
-‐
BBC
from
the
1930s

Ê  Divided
up
into
the
Home,
Light
and
Third
–
aker
WW2.

Ê  Third
played
mostly
serious
music
and
more
intellectual
talk

programmes.

Ê  Light
was
light
entertainment
-‐
much
of
it
music.

Brass
bands,

organists,
light
orchestras
etc.

Ê  Home
was
soaps,
news
and
talk
shows.

Areas
of
Mass
Musical
Activity
in

Britain
pre
WW2

Ê  Brass
bands
-‐
for
parades
and
street
marching
events.

Ê  Social
Dancing
-‐
boom
in
cheap
dance
halls.

Ê  Music
Halls
-‐
urban
entertainment
before
the
age
of

television.

Variety
and
Music
Hall.

Ê  Singing
clubs,
hand
bells,
etc.

Ê  Importance
of
temperance
movements
in
promo]ng

music
par]cipa]on.

Ê  Choir
and
chorale
singing.

Brass
Bands

Ê  Took
root
in
the
19th
century
-‐
as
an
encouragement

to
workers
to
beger
themselves
and
not
drink
their

wages.

Ê  Firms
sponsored
bands
-‐
who
gradually
took
to

playing
all
brass
instruments
(strings
and
reed
where

slowly
abandoned).

Ê  Strongly
associated
with
temperance
social
clubs
-‐

people
taking
the
pledge.

Ê  Spread
from
the
north
and
midlands
to
the
whole

country
-‐
urban
and
rural
areas.

Ê  Development
of
contes]ng
as
a
social
ac]vity
-‐
like

being
part
of
a
football
club
with
ﬁxtures.

Social
Dancing

Ê 

Jazz
as
much
a
dance
phenomena
as
a
musical
one.

Ê 

Great
succession
of
new
dance
emerged
in
the
1920s
-‐
blackbogom,
charleston,
stomp,
etc.

Jigerbugging
in
the
30s
and
40s.

Also
la]n
dances
and
novelty
dances.

Oken
instructed
on
the

ﬂoor
and
danced
to
by
masses
in
lines.

Ê 

Dance
halls
opening
all
over
England
from
the
1890s
to
1930s.

Prices
as
low
as
a
few
pence
to

a
few
shillings.

Many
later
converted
into
cinemas
or
pulled
down.

Ê 

Emquege
of
‘Excuse
Me’
and
changing
partners.

Women
could
dance
with
women
but
men

had
to
request
a
dance.

Ê 

Died
with
the
1950s
and
the
end
of
swing.

New
pop
music
had
a
diﬀerent
set
of
social
rules

and
a
new
set
of
dance
types.

Many
not
involving
a
couples
embrace.

Music
Hf
light
or
variety
entertainment
before
television.

Early

alls

Ê  The
home
o
television
took
over
the
forms
and
stars
of
the
music
hall.

Ê  Music
halls
developed
aker
1852
-‐
but
became
biggest
in
the
era

before
and
aker
ww1
and
the
arrival
of
radio.
First
Music
Hall
behind

the
Canterbury
Arms
in
Lambeth.

Ê  All
large
towns
had
music
halls
and
impresarios
who
ran
them
for

proﬁt.

Ê  Every
kind
of
entertainment
was
available
-‐
comedians,
ventriloquists,

jugglers,
strong
men,
dancers,
etc.
Also
popular
singers.

Ê  You
paid
to
enter
and
then
could
drink
at
the
bar
and
see
the
show.

Music
in
the
Music
Hall

Ê 
The
most
common
form
of
entertainment
was
the
popular
singer
-‐
or
a
comedian
that

included
song
as
part
of
his/her
act.

Ê 

A
band
of
some
form
would
be
present
and
oken
a
pit
was
built
in.

Ê 

The
best
known
stars
-‐

Marie
Lloyd,
George
Leybourne,
Gracie
Fields
(1898-‐1979),
Dan
Leno,

etc,
were
hugely
famous.

Ê 

Many
early
Film
industry
stars
came
out
of
the
music
hall
-‐
Chaplin,
Laurel,
etc.

A
Bri]sh

phenomena
-‐
but
there
was
an
equivalent
in
America.

Video
of
Chaplin

More

Ê Many
ﬁne
theatres
were
built
for
music
hall
primarily.

Ê Female
impersonators
as
well
as
male
impersonators.
Vesta

Tilley.

Ê Later
music
of
this
material
came
to
be
called
simply
variety.

Ê Importance
in
Britain
of
seaside
resorts
-‐
pavilions
and
piers.

Ê Command
performances.

Becomes
known
as
‘variety’
and
was
a

mainstay
of
early
television.

Ê Video
Gus
Ellen

Dan
Leno

Ê  A
great
star
of
his
day
-‐
but
forgogen
now.

Ê  Would
perform
quick
rou]nes
in
many
diﬀerent

halls
in
one
night
-‐
traveling
by
cab
from
one
to

another.

Ê  Had
several
diﬀerent
personali]es
-‐
many
of
whom

sang
humorous
songs.

Ê  Charlie
Chaplin
in
many
ways
moddled
his
character

on
Leno.
video

Josephine
Baker
–
From
St
Louis
to
Paris

Ê  Born
in
St
Louis

Ê  Gravitated
to
Paris
aker
WW1
–
In
]me
for
Jazz
craze.

Ê  Introduced
hot
jazz
to
Paris
with
La
Revue
Negre
in
1925.

Ê  Dark
Star
of
the
Folies-‐Bergere.

Ê  Listen
to
a
recording
of
her.

Gracie
Fields
–
From
Rochdale
to

Hollywood

Ê  Huge
popularity
in
the
1930s

Ê  War
service
-‐
entertaining
the
troops.

Ê  Film
Career.

Ê  Marriage
and
life
in
Capri.

Ê  Successful
music
hall
ar]st
from
Lancashire
who
made
to
the

big
screen.

Ê  Songs
oken
very
humorous
and
complicated.

Ê  Nostalgia
and
patrio]sm.

Ê  Recording.

Gracie
Fields

Ê  Lancashire
cogon
worker
with
a
fine
voice.

Tremendous
poten]al
as
a
classical
singer.

Ê  Early
appearances
at
the
Rochdale
Hippodrome.

Ê  1920s
stage
shows
and
revue
to
Hollywood,
then
war

appearances
followed
by
gravita]on
to
Italy
-‐
300

records.

Ê  Gravitated
to
music
halls
and
then
to
London.

Ê  Songs
wrigen
by
her
husband
-‐
she
made
films
and
was

important
in
the
war
effort.

Ê  By
the
1950s
she
had
re]red
to
Capri.

America
in
the
19th
century

Ê  Slavery

Ê  Conquest
of
the
West
–
Expansion
in
all
direc]ons

Ê  Immigra]on

Ê  Industrialisa]on

Ê  Crea]on
of
a
na]on

Ê  Entertainment
–
Minstrelsy,
Vaudeville
and
Tim
Pan
Alley

Ê  Songs
of
George
Forster

New
Orleans
before
Jazz

The
Jim
Crow
Acts

11.
Minstrels

Ê  Throughout
19th
century
the
mainstay
of
popular

entertainment
was
the
minstrel
band.

Ê  A
caricature
of
the
untrained
black
musician
who
had

music
in
his
soul.

Ê  Minstrels
were
also
whites
who
blacked
up
and
imitated

blacks.

This
was
a
huge
component
of
popular

entertainment
from
1840s-‐1920s
and
even
un]l
the
1960s

later.

Ê  New
Cristy
Minstrels.

Performed
thoughout
America
and

Europe
aker
the
ﬁrst
world
war.

Ê  Video
of
Minstrel
Music.
The
ﬁrst
American
form
of
mass

popular
entertainment
-‐
like
TV.

Minstrelsy
and
the
War
between
the

States

Rag]me
-‐
Prehistory
of
Jazz

Ê  Congo
square
dances
of
black
slaves
in
early
19th

century
New
Orleans.

The
ring
shout.

Rhythmic

content
of
African
music.

Ê  Rag]me
and
Scog
Joplin.

Starts
in
the
1890s
as

a
piano
style
full
of
syncopa]on.

Died
with

Joplin
in
1917.

Revived
in
the
1960s
and
70s.

Ê  Extract
1
–
Maple
Leaf

–
by
Scog
Joplin

By
1900

Ê  Many
aspects
of
the
modern
popular
culture
industry
in
place

in
America.

Ê  1.
Record
companies,
2.
Tin
Pan
Alley,
3.
Vaudeville,
4.

Rag]me
and
5.
Minstrel
Show
Networks.

Ê  1900-‐1920
–
1.
Film
Industry
based
on
Hollywood,
2.

Broadway
(from
1890s
but
not
a
concentra]on
of
theatres

un]l
1920)
and
The
Musical,
3.
Jazz.

Ê  First
Hollywood
studios
in
1911.

12.
Rise
of
Vaudeville
and
Height
of
Tin

Pan
Alley

Ê  Jubilee
Singers
–
success
of
‘Negro
Spirituals
Swing
Low,
Steal

Away,

Ê  Oh
My
Darling
by
Percy
Montrose.

Ê  Rise
of
Zeigfeld
Follies
–
from
1907.

Ê  Between
1890-‐1907
sheet
music
produc]on
tripled
–
Tin
Pan

Alley
28th
Street
–
warren
of
small
rooms
with
a
piano.

Burlesque
-‐
Vaudeville

Ê  American
equivalent
of
Music
Hall.

Ê  Bigger
emphasis
on
music
and
novelty
-‐
less
on
stand
up

comics.

Ê  Lots
of
acts
blacked
up
as
minstrels.

Banjo
players
and

nonsense
and
novelty
songs.

Also
dancing
troupes
and

solo
singers.

Ê  Less
important
than
in
Europe
perhaps
because
of
the

importance
of
the
movie
industry
and
musicals
-‐

Zeigﬁeld
Follies
-‐
Gypsy
Rose
Lee.

Ê  Judy
Garland
-‐
singer
who
moved
from
Vaudeville
to

Broadway
to
Films.

From
Vaudeville
to
the
Musical

Ê  Revue
and
vaudeville
with
a
storyline
and
an

integrated
show.

Ê  The
Black
Crook
1866
-‐
an
epic
bringing
together

music
and
melodrama
plus
specialty
acts
and

dancing.

Ê  Oscar
Hammerstein
and
Jerome
Kern
came
together

with
Show
Boat
1927
bringing
together
European

operega
tradi]on
with
American
Vaudeville.

Ê  The
Gerswins
developed
the
style
and
form
towards

serious
art
music.

Jazz
Age

Ê  From
the
ﬁrst
recordings
included
all
manner
of

material
-‐
but
dominated
by
serious
art
music.

Ê  The
development
of
Jazz
and
the
dance
craze
of

the
20s
saw
the
ﬁrst
big
increase
in
popular

music
record
sales.

Ê  The
gramophone
was
there
to
dance
to.

Ê  Video
of
Creoles
and
brass
bands.

New
Orleans.

Early
Jazz
–
New
Orleans

Broadway,
Hollywood
and
The
Great

American
Songbook

Ê  Both
have
great
inﬂuence
on
popular
music
in
America
(and

indirectly
in
Britain).

Ê  The
development
of
popular
song.

Big
stars
because

universally
known
through
ﬁlm.

Ê  Of
mass
culture
in
general.

Ê  On
the
musical
in
par]cular.

Great
American
Song
Book

Ê  Term
used
for
the
developing
tradi]on
of
popular
song

associated
with
shows
and
ﬁlms
from
1900-‐1950.

Ê  Gerswins,
Jerome
Kern,
Ervin
Berlin,
Richard
Rogers
and
Hart,

Cole
Porter.

Ê  Increasingly
complicated
harmonies
and
piano
style.

Ê  Always
assessable
but
arguably
art
music.

Showboat
1927
–
Film
1935

Race
and
Hillbilly
Music

Popular
singers

Ê  Josephine
Baker

Ê  Blues
-‐
Ma
Rainie,
Bessie
Smith,
Billie
Holliday

Ê  Paul
Whiteman,
Bing
Crosby,
Frank
Sinatra
-‐
movie
clip
of

Crosby
and
the
Singer
with
the
band.

Ê  In
Britain
-‐
George
Formby,

America

Ê  All
Bri]sh
popular
forms
looked
to
some
extent

to
America.

Ê  Rag]me,
Jazz,
Blues,
Musicals,
Folk,
Rhythm
and

Blues,
Rock
and
Roll
-‐
all
come
from
America
and

are
imitated
in
Britain.

Ê  There
are
always
diﬀerences
however
and
the

tradi]ons
and
never
quite
the
same.

Essay
Title

Ê  Review
the
contribu]on
of
the
various
forms
of
Mass

entertainment
in
Britain
and
America.

Ê  How
well
did
they
integrate
and
work
together?

Ê  Bing
Crosby
one
of
the
ﬁrst
to
be
able
to
link
up
all
the

important
strands
of
mass
media
by
1930
–
as
a
primarily
a

popular
singer
–
he
could
do
it
all.

Popular music 1900 30 2013

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