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American Popular Music – Up to
40s
• Overview up to ww2.
• Musicals and Broadway
• Country Music
• War Years
• Post War and the move to Bebop
• Dizzy Gillaspie and Charlie Parker
Readings
• Burkholder, Grout and Palisca, pp. 844-864
• Ted Gioia, The History of Jazz, pp. 3-54
• Ed. Mervyn Cooke and David Horn, The
Cambridge Companion to Jazz, CUP, 2002,
pp. 9-32
• Gunter Schuller, Early Jazz, 1968, pp. 63-
133
American Popular Music Genres
• Importance of black genres - jazz forms
especially
• Movie industry and its impact
• Broadway stage
• Country Music
• Big bands
• Solo Performers
Impact
• 1920s the ‘Jazz Age’.
• Phonograph, gramophone and radio all in place by 1920s. Tin Pan Alley still important and lots of music was transcribed and sold as sheet music.
• Dance craze of the era. Blackbottom, stomp, Charleston, etc. Records allowed people to dance at home.
• Musicians throughout the world aware of Jazz -world wide impact.
• Gerswin’s Rapsody in Blue 1924. Big impact in Paris and on French composers. I
Records
• By 1909 12 million dollars of records and
cylinders sold in USA, by 1921 thus had
increase 4 fold.
• Jazz arrives as a recorded product in the
early 1920 and is our main source of
knowledge of the genre from then on.
Radio
• Early records - 78 had to be 3 and half minutes.
• No electric microphones before 1925 so sound
quality was poor and the recording process crude.
• Radio preferred to a have a live band - often a
house ensemble to produce music on tap.
• Quality of sound on radio was better than on
record in general - early shellac records
deteriorated quickly and were easily broken.
Move towards Big Bands and
Soloists/Leaders
• Armstrong was clearly a more virtuosic player
than Oliver - who saw Jazz as collective and inter-
dependent. Armstrong was constrained within the
band.
• Individualism of Armstrong calls attention to
itself.
• Death knell of New Orleans style - and arrival of
big band format. In place by 1925 and in full flow
by 1930.
Paul Whiteman and Bing Crosby
1930s The Popular Singer
• The microphone meant that a singer could dominate a big band.
• Popular singers became stars in the their own right - Bing Crosby, Frank Sinatra, Nat King Cole.
• Females - Bessie Smith, Billie Holliday, Ella Fitzgerald, Patty Paige
• Huge record sales for some singers from the 1930s onwards.
• Big link up with movie world.
• Bessie Smith – St Louis Blues
Billie Holliday
Sinatra and Lena Horn
Burlesque - Vaudeville
• American equivalent of Music Hall.
• Bigger emphasis on music and novelty - less on stand up comics.
• Lots of acts blacked up as minstrels. Banjo players and nonsense and novelty songs. Also dancing troupes and solo singers.
• Less important than in Europe perhaps because of the importance of the movie industry and musicals - Zeigfield Follies - Gypsy Rose Lee.
• Judy Garland - singer who moved from Vaudeville to Broadway to Films.
The Musical • Revue and vaudeville with a storyline and an
integrated show.
• The Black Crook 1866 - an epic bringing together music and melodrama plus specialty acts and dancing.
• Oscar Hammerstein and Jerome Kern came together with Show Boat 1927 bringing together European operetta tradition with American Vaudeville.
• The Gerswins developed the style and form towards serious art music.
• Oklahoma the breakthrough as it was meant both as a show and film. 1943.
Showboat 1927 – Film 1935
Rogers and Hart 1935-43
• Revitalised Broadway – returned 1935.
• Hits until the mid 40s
• With Babes in Arms – they wrote the songs
and music, and the storyline and libretto.
• Used child actors and no stars.
• Lorenz Hart increasingly difficult to work
with – unpredictable and unstable
Broadway 1935 Rogers and Hart
Oklahoma
• First Rodgers and Hammerstein production.
• Broadway production on 1943.
• Built on success of Show Boat – Songs and
Dances fully integrated into the drama and
action.
• Fully evolved dramatic action and use of
motifs for people and things.
• 1955 Film version..
Series of Broadway Success -
Films
• Carousel (1945), South Pacific (1949, The
King and I (1951), The Sound of Music
(1959).
• Other shows include the minor hit, Flower
Drum Song (1958), as well as relative
failures Allegro (1947), Me and Juliet
(1953) and Pipe Dream (1955).
Oh What a beautiful morning
Country Music
• The white equivalent to Blues.
• Associated with the white south - Appallachians and Virginia, Tennessee - Hilly Billy Folk -playing old dances up tempo and singing styles that involved yodelling. Bluegrass styles.
• Some huge stars - Jimmy Rodger, Carter Family.
• Centred on Grand Ole Opry of Nashville.
• Moved after the war from country to urban setting (Honky Tonk) with new stars - Hank Williams (1947-53) Country Blues
Big Band Swing
• Throughout the 1940s and much of the 50s
the big band sound of swing dominated
popular.
• Fletcher Henderson, Duke Ellington, Benny
Goodman, Glen Miller.
• New generation of White Bands with
commercial success
Fletcher Henderson
Benny Goodman
Glen Miller
Pennsylvanian 65000
Jazz and the War• Swing Jazz was for many the sound track to
the war years.
• Many bands served within the military.
• America did not enter the war until 1942 –
After Pearl Harbour Dec 1p41– but the draft
had been introduced long before.
• Served to bring Swing Jazz – American
style to Europe and Britain in particular.
• Band leader became hugely famous.
Jazz in the War Years
Koko
The beginings of Bebop
• Musicians from the big bands became
frustrated by the regimentation and
commercialism.
• Started afterhours improvisation sessions.
• Thelonius Monk, Kenny Clark, Dizzy
Gilespie, etc
• Gave rise to a new apporach.
• Fast, uncompromising, harmonically agile.
Minton’s Club Harlem 1940
• After hours club that attracted improvisers.
Dizzy Gillespie
• Theorist and teacher to new of 1940s
generation
Parker - Bird
• Tragic life story and early death.
Charlie Parker
• Individualist who was able to create a new
approach based not on melody but on the
underlying chords.
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