1. Part 3 The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture America’s Musical Landscape 5th edition PowerPoint by Myra Lewinter Malamut Georgian Court University © 2006 The McGraw-Hill Companies, Inc. All rights reserved

2. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture2 Music in the Vernacular: Historical and Cultural Perspective The common, or vernacular, language of a country is the language spoken by most of its people A culture’s vernacular music also is commonly heard and understood without conscious effort on the part of listeners Often the term “popular” is used for vernacular music

3. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture3 Vernacular Art and Literature Besides music, other arts of the post-Civil War period also captured new American flavors: Author Bret Harte (1836-1902 Author Mark Twain (1835-1910) Poet Walt Whitman (1819-1892)

4. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture4 Popular culture thrived from the late 1930s through the early 1950s Pulp novels, adventure comic books, swing music, and B movies were enlivened people’s lives Mid-century “beat” poets borrowed vocabulary from jazz musicians

5. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture5 Visual Arts at the Turn of the Twentieth Century There was a new interest in the mundane in American life The robust vigor of city life replaced the idyllic rural American landscape Artists: Ben Shahn (1898-1969) imitated newspaper cartoons Jasper Johns (1930-) and Robert Rauschenberg (1925-) introduced everyday objects into paintings George Segal (1924-2000) cast life-size plaster figures from live models Pop Art was introduced in the 1960s, presenting everyday objects including Coke bottles, lightbulbs, plus more

6. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture6 Collage was a new popular art technique Collage was a cut-and-paste technique combining objects of varying content and material to form a work of art Collage artist Romare Bearden (1912-1988) was a member of the Harlem Renaissance movement created stunning collages that functioned as a visual equivalent to the jazz he loved

7. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture7 Vernacular Music Included Native American music Anglo-American and African American dances and songs Hymns and psalm tunes by self-taught amateurs Music by composer Stephen Foster Religious folk songs including spirituals and alabados

8. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture8 The Emergence of Popular Music Occurred during the period between the Jacksonian era and the Civil War (1829-1861) This was a period of rapid industrialization, economic uncertainty, slavery, westward expansion, plus social, religious, political and economic issues Popular music provided emotional release without direct confrontation of the issues on a personal level

9. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture9 Vernacular music revealed American traits: Civil War era music included minstrel shows, band and circus music, songs by Stephen Foster, performances by popular singing families, plus American flavored songs, dances, and instrumental pieces unfettered by European rules Some music was conceived to provide popular entertainment at home, in the theater or other structured setting Some tunes evolved on an open range, cotton field, chain gang, or battle field, offering self-expression and relief to the lonely and oppressed

10. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture10 Until recently, vernacular traditions were not consciously preserved Favorite pieces survived through generations through unchanging, or slowly changing performance practice New sounds have been short-lived or long-lived according to the vagaries of popular acceptance and of the music business Some very old tunes remain familiar, whereas some highly popular songs have been forgotten by the fickle public who loved them months ago

11. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture11 The Rise of Popular Culture: The late 19 th century and early 20 th century The gap between classical and popular music widened There had always been music for everyday and music for concerts, as well as religious and secular music, but these distinctions had not necessarily been clear before this era As time progressed complexity and dissonance increased within classical music Popular songwriters simplified their melodies and harmonies to make them more accessible and acceptable to a wide audience Popular music and classical music grew farther apart

12. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture12 The last decade of the nineteenth century: Two phenomenal movements in popular American music Ragtime was primarily instrumental and led by black musicians Tin Pan Alley was vocal and led by American Jews

13. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture13 Ragtime Talented black pianists played this new highly syncopated danceable music for entertainment Small bands “ragged” their arrangements by adding syncopation over a steady beat By 1897 the hot new music was called ragtime

14. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture14 Early ragtime piano music was improvised Nightclub audiences were captivated by this toe-tapping style, and publishers started to show interest This caused ragtime to be written down and highly structured for publication These structured pieces are considered “classic” ragtime We now consider ragtime as a written down music Ragtime was an American music created by black musicians based on white European and black African traditions

15. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture15 Ragtime form: Similar to a march Each section is called a “strain,” referred to by its own letter. Early rags were tonal yet some included complex harmonies and chromatic tones; i.e., tones other than those of the major or minor scale upon which the piece was based The rhythm and “flavor” of ragtime derived from Africa The spicy nature and syncopated rhythms were distinctive characteristics of ragtime Introduction, A A B B C C D D

16. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture16 Late minstrel shows influenced ragtime The high-stepping plantation dance called a cakewalk based upon the syncopated figure short-LONG-short became a regular feature of the finale or last scene of the minstrel show The ragtime pianist’s left hand marked the regular duple meter while the right hand played a highly syncopated melody

17. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture17 Ragtime performance: Pianists included Eubie Blake (1883-1983) James Scott (1886-1938) Jelly Roll Morton (1890-1941) Scott Joplin (1868-1917) Performances were recorded on piano rolls to be heard “live” on player pianos long before the era of phonographs and radios

18. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture18 Scott Joplin (1868-1917) “The King of Ragtime” Grew up in a musical family Studied piano and music theory with a German immigrant musician Joplin’s “Maple Leaf Rag”, published 1899 by John Stark who heard Joplin perform it at the Maple Leaf Club was enormously popular

19. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture19 Listening Example 29 Maple Leaf Rag by Scott Joplin (1868-1917) listening guide page 148 Meter: Duple Key: A-flat major Outline of form: A A B B A C C D D Notice the short-LONG-short cakewalk figure which recurs throughout the piece Notice the crisp detached staccato notes in the descending melodic line of the 2 nd strain

20. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture20 Influence of Ragtime Ragtime affected popular and classical music Dancers adopted the two-step or fox-trot, replacing other dances in popularity James Reese Europe (1881-1919), an African American composer and bandleader was known for the fox-trots he composed By the end of the twentieth century many forms of American popular music reflected a strong black influence

21. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture21 Influence of Ragtime White composers started writing songs with ragtime rhythms “Hello, My Baby!” by Joseph Howard “Waiting for the Robert E. Lee” by Lewis F. Muir “Yessir, That’s My Baby” by Gus Kahn and Walter Donaldson In the second decade of the twentieth century, many songs by white composers were perceived as “ragtime songs” and performers were “ragging” (syncopating) popular songs

22. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture22 Ragtime declined in popularity at the end of World War I Some rags became too complex for popular appeal Ragtime had become a precursor of jazz Popular songs replaced piano music as the popular music of the day

23. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture23 Tin Pan Alley The popular music expanded rapidly after the Civil War, to Boston, Chicago, Philadelphia, Baltimore, and Cincinnati Songs were written to make money Sheet music became popular The music publishing district in New York was dubbed Tin Pan Alley The nickname “Tin Pan Alley” is from many pianos playing at once Song pluggers demonstrated music to customers

24. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture24 Tin Pan Alley Songs All were popular songs, uniform in style The form: Brief piano introduction Verse-chorus form The verses narrated a story or described a situation or portrait The chorus, repeated after each verse, echoed or commented on the story

25. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture25 Tin Pan Alley Songs As listeners preferred the memorable chorus melodies, verses became less important By the 1920s composers were writing shorter verses and fewer of them Verses often were omitted from recorded performances Finally many composers wrote songs without verses The Golden Age of American Popular Song, from the 1920s through the 1950s, was tied in to Tin Pan Alley

26. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture26 Tin Pan Alley Songs Many were waltzes, reflecting the popularity of European music “After the Ball” (1892) “The Sidewalks of New York” (1894) “Casey Would Waltz with the Strawberry Blonde (1895) “Meet Me in St. Louis, Louis” (1904) “Take Me Out to the Ball Game” (1908) The lyrics of many of the songs reveal social conflicts rising from women’s new active, independent role in society

27. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture27 Barbershop Quartets Tin Pan Alley songs were often performed by Barbershop quartets Four unaccompanied male voices Tenor, lead, baritone and bass The lead voice sang melody, other voices provided close harmony above and below Barbershop singing is still popular today The Society for the Preservation and Encouragement of Barbershop Quartet Singing, and, the “Sweet Adelines” have members who enjoy singing in the Barbershop style

28. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture28 Listening Example 30 Rose (A Ring to the Name of Rose) by George M. Cohan Listening guide page 152 Meter: Duple Tempo: Moderate Sung a cappella Hear the emphasis to the name “Rosie” through syncopation of the first syllable. Tin Pan Alley songs lend themselves well to barbershop singing and to the creative harmonic changes of barbershop style: Modest vocal range Simple lyrics Comfortable to sing Simple melodies

29. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture29 Jewish American songwriters dominated Tin Pan Alley’s years From 1920 to about 1945 Tin Pan Alley was popular Jewish people were active in music as Performing musicians Music teachers Popular song composers within show business

30. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture30 Irving Berlin (1888-1989) Born Israel Baline in western Siberia, Berlin’s family fled Russian pogroms and settled in 1893 in a New York City tenement Berlin’s early days: Sung for pennies on street corners and in saloons Became a singing waiter

31. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture31 Irving Berlin Worked as a song plugger in Tin Pan Alley and wrote songs for vaudeville Inspired by ragtime “Alexander’s Ragtime Band,” written for a 1911 vaudeville show was Berlin’s first hit song Berlin became one of the best-known, popular and most enduring American composers

32. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture32 Listening Example 31 Alexander’s Ragtime Band By Irving Berlin Singer: Bessie Smith Listening guide page 154 Meter: Duple Form: Verse-chorus Notice the ragtime mood and syncopated rhythm Accompaniment: Cornet, trombone, clarinet, piano, banjo. Coleman Hawkins on clarinet, and Fletcher Henderson on piano both became well-known influential musicians.

33. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture33 Irving Berlin Self-taught on piano Only played on the black keys in G-flat or F-sharp His trick piano enabled him to modulate (change keys) to aid his composing and adjust to the range of a singer’s voice With others, founded ASCAP, the American Society of Composers, Authors, and Publishers To ensure music creators fair compensation for public performances of their music Today ASCAP protects music creators’ rights, distributes royalties, and licenses performances Formed his own publishing company

34. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture34 Irving Berlin’s Music The rollicking tunes rhythms of many of Berlin’s songs reveal his attraction to syncopated popular dance music Other songs have a warm romantic mood: “Always,” “How Deep is the Ocean, and “The Girl That I Marry” Most frequently recorded song ever: “White Christmas” “God Bless America” sparked controversy from liberal commentators as well as from the right-wing Leftists pointed out the lack of separation of church and state Right-wingers resented a non-Christian immigrant telling God to bless America

35. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture35 Jerome Kern (1885-1945) New York native with a sound musical education, including studies in London His first songs were interpolated into British shows imported to Broadway Worked as a Tin Pan Alley song plugger and rehearsal pianist on Broadway before writing his own shows Songs resemble those by Berlin, yet with more complex harmonies and sophisticated chord changes Kern’s songs for sound movies include “The Last Time I Saw Paris” (from Lady Be Good, 1941) “Long Ago and Far Away” (from Cover Girl, 1944)

36. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture36 Cole Porter (1892-1964) Another major contributor to the golden age of American popular song Porter came from a wealthy privileged background, and was highly trained in Paris by classical musicians Porter’s lyrics were witty, sexy, sophisticated The film “De-Lovely” (2004) portrayed Porter’s life The physical pain from crushed legs in a horseback-riding accident of 1937 A devoted marriage juxtaposed by the emotional pain of his homosexuality

37. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture37 Listening Example 32 Night and Day By Cole Porter Singer: Frank Sinatra Listening guide page 159 Form: Verse-chorus Meter: Quadruple Tempo: Moderately Slow Fred Astaire introduced this song on Broadway Many of Porter’s tunes are chromatic, move stepwise, and are difficult to sing The first pitch of the vocalist repeats 33 times in a row, and another Note repeats 29 consecutive times

38. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture38 George Gershwin (1898-1737) As a Brooklyn, New York native and outstanding pianist, started out as a song plugger on Tin Pan Alley Age 20, became the house songwriter for T. B. Harms publishers Gershwin’s song “Swanee,” written at the age of 21, as sung by Al Jolson became his biggest hit song Composed over 600 songs, and for 30 musicals “Someone to Watch Over me, and “I Got Rhythm”

39. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture39 George Gershwin George Gershwin’s brother Ira (1896-1983) was his lyricist Like other Tin Pan Alley composers wrote movie music Unlike other Tin Pan Alley composers was strongly drawn to classical music and jazz Gershwin’s music has the sounds and flavor of jazz His unique harmonies make Gershwin’s music recognizable as his own

40. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture40 Several Factors contributed to the decline of Tin Pan Alley: Change in popular taste after half a century of Tin Pan Alley Sentimental songs during the war years became less relevant after World War II troops were back home New song styles became popular Humorous nonsensical “novelty” songs Latin rhythms Songs from rural areas and from the West The long 1940 ASCAP strike against radio networks: New Tin Pan Alley recordings were not played on radio A new organization, BMI, (Broadcast Music Incorporated), dominated the radio waves, playing new and different music

41. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 9: The Rise of Popular Culture41 Chapter 9 Image Credits Slide 13: Pianist’s Hands. © Digital Vision/Getty Images. Slide 30: Irving Berlin. © Corbis. Slide 38: George Gershwin. © Corbis.