1. America’s original art form
The History of Jazz
America’s original art form

2. Jazz Music Originated in the 1920’s in New Orleans
Characterized by blue notes, syncopation, swing, call and response, and improvisation
Picture is of Bourbon Street in New Orleans

3. Origins of jazz West African Folk Music
European Classical Form and Harmonies
New Orleans Marching Bands
The Blues
Influences of other styles of modern music

4. Jazz Instruments

5. Styles ( Eras) Of Jazz Music
1880’s to 1910
1987-present

6. Ragtime Music 1897 Harlem Rag 1899 Maple Leaf Rag 1902 The Entertainer
1906 Frog Leg’s Rag
1919 Bohemia Rag
Tom Turpin
Scott Joplin
James Scott
Joseph Lamb

7. Ragtime Music 1897 starts the influence of Ragtime
Ragtime predated the availability of sound recordings so its popularity was by word of mouth.
Was distributed by sheet music
With industrialization, railroad construction its popularity quickly spread
Piano rolls and player pianos play an important role with ragtime music

8. Ragtime Music
Invention of the phonograph helped spread ragtime music and helped the music industry
Stride piano is an important aspect of Ragtime music that had a direct influence on modern music today
Primarily written for piano but towards the mid 1910’s, some songs were arranged for different ensembles thus leading the way into Dixieland music

9. Styles of Ragtime Music
Cakewalk-popular in 1904, music is intended to represent of dance contests where the prize is a cake
Two-Step-Popular in 1911, dance craze that was popular in the early 1900’s
Ragtime Song- version of ragtime music that was influential to Irving Berlin, American composer, influential in early Hollywood and Broadway

10. Styles of Ragtime Music
Classic Rag- Style made popular by Scot Joplin, main style of ragtime music
Fox-Trot- dance style started in 1913, became popular in 1920’s
Stride Piano- emerged after WW1 fast paced moving bass line, direct influence on early Rock & Roll

11. Ragtime Revivals
1950’s better recording devices were invented so older songs were recorded on record and published causing a revival in popularity
1970’s- Joshua Rifkin recorded a series of Scott Joplin music and won a Grammy, re-introduced Joplin’s music to the public
New York Public Library released a 2 volume set of Scott Joplin music which introduced a new audience to his music
1974- the movie The Sting staring Robert Redford and Paul Newman used Scott Joplin songs as its theme songs.

12. Scott Joplin Father Of Ragtime 1899 Maple Leaf Rag
Most Famous Ragtime Song
1902 The Entertainer

13. Scott Joplin Best known ragtime musician and composer
Father of Ragtime music
1891-Part of a minstrel troupe
1895 started selling his music
Worked as a pianist in Maple Leaf and Black 400 gentlemen clubs
1899 Sold his most famous piece Maple Leaf Rag to John Stark
Boosted his popularity and made ragtime famous
Treemonisha- opera based on ragtime music

14. The Maple Leaf Rag
Named after a bar Joplin worked at in Sedalia Missouri
ragtime's biggest hit
The success of the Maple Leaf Rag sparked a nationwide ragtime craze.
1899 Publication of the Maple Leaf Rag
becomes a nationwide best-seller
1903 The first recording of Maple Leaf Rag is made, in Minneapolis

15. The Entertainer 1902 The Entertainer
Featured in the 1973 movie the sting featuring Paul Newman and Robert Redford
Helped to launch a ragtime revival which increased the popularity of ragtime music
Song influenced John Williams to write the cantina song in Star Wars

16. Joseph Lamb Influential Composer 1908 Met Joplin 1908 Sensation
1919 Bohemia Rag

17. Joseph Lamb White influential ragtime musician and composer
Self taught musician
Big fan and influenced by Joplin
1908- New York, was purchasing Scott Joplin music in record store when he met Scott Joplin
Introduced to John Stark
Lambs music was published for the next decade
1908- Sensation
1914- Cleopatra Nightingale
1919 Bohemia Rag
When popularity of Ragtime faded, decided to work as an accountant
1950’s revival had him come out of retirement and start performing again

18. James Scott 1902 worked for Charles Dumars and met Joplin
1903 A summer Breeze
1906 Frog Legs Rag

19. James Scott One of the big three composers of ragtime music
Born in Neosho Missouri
1902 worked in music store of Charles Dumars as menial labor
Showed musical ability so Dumars published his music
A Summer Breeze in 1903
1906 moved to St. Louis
Met Scott Joplin and John Stark
1906 Frog Legs Rag
1914 moved to Kansas City
Married, taught music, directed theater orchestra
Talking movies began so he lost his first fortune. Wife died, bad health
Continued to compose until Starks retirement in 1922

20. Tom Turpin Father of St. Louis Ragtime 1896 Harlem Rag
First Politically Powerful African Americans in St. Louis

21. Tom Turpin Ragtime composer and businessman
Opened saloon in St. Louis which became a meeting place for musicians
First African American to publish a ragtime song “Harlem Rag” in 1897
Other famous song was St. Louis Rag
Owned several businesses in St. Louis, theater, saloons, gambling houses
Was a deputy sheriff and one of the first politically powerful African Americans in St. Louis.
His influence on local music earned him the nickname Father of St. Louis Ragtime.

22. John Starks
Was the publisher of the most famous ragtime composition from the 1900’s-1920’s
Money he earned by publishing Maple Leaf Rag enabled him to increase his publishing company
Moved from Sedalia Missouri to St. Louis and finally to New York
He and Scott Joplin moved together
One of the first music Promoters and Advertisers
persistently challenged the musical (and racial) prejudices that prevented true ragtime from receiving its due.
Competed against Tin Pan Alley Producers

23. Tin Pan Alley

24. Tin Pan Alley
Was the popular music publishing center of the world from around 1885 to the 1920's
Before it was established, publishers were scattered all over the country
these early publishers played important roles in the printing and distribution of sheet music. Most music publishers also published church music, music instruction books, study pieces and classical items for home and school use.
After the Civil War, people started to play the piano.
By ,00 young Americans were learning the piano
The demand for sheet music was great.
Publishers decided to consolidate in New York.
New York was becoming a cultural center in the United States.
Performers lived there, music thrived there, musical trends happened there

25. Tin Pan Alley
Thomas B. Harms (Harms, Inc. started in 1881)
Isadore Witmark. M. Witmark & Sons published their first sheet music I'll Answer That Question Tomorrow in 1885.
Soon every major music publisher in America had a presence in what would become Tin Pan Alley
Irving Berlin, Inc., Remick Music Co., Robbins Music Corp, and E. B. Marks Music Company
These visionaries concentrated almost exclusively on popular music, and the key to their success was their use of market research to select music and the use of aggressive marketing techniques to sell the product.
Song composers were hired under contract giving the publisher exclusive rights to popular composer's works

26. Tin Pan Alley
The market was surveyed to determine what style of song was selling best
Then the composers were directed to compose in that style.
a song was actually tested with both performers and listeners to determine which would be published and which would go to the trash bin
music was becoming an industry more than an art
Song pluggers (performers who worked in music shops playing the latest releases,) were hired
Performers were persuaded to play the new songs in their acts to give the music exposure to the public

27. Tin Pan Alley
28th street between 5th Avenue and Broadway. This street (28th) became known as "Tin Pan Alley.
the first to establish themselves in the area known as Tin Pan Alley was most probably Leo Feist, a corset salesman who had a penchant for writing catchy lyrics
In 1897 Feist rented a room at 1227 Broadway and with a piano and a partner began the music publication business with his first song, Does True Love Ever Run Smooth.
The name symbolizes the sound of the many pianos being pounded in publisher's rooms which was characterized as sounding as though hundreds of people were pounding on tin pans.

28. Tin Pan Alley
vaudeville replaced the minstrel show as the most popular form of stage entertainment
enormous amounts of money were to be made from the sale of songs popularized by these shows
In the first two decades of its existence, Tin Pan Alley produced a succession of songs, remarkable from a commercial standpoint and for their endurance in American culture.
Large numbers of songs from this period became widely known and are a part of our traditions even today.
Give My Regards To Broadway (1904), Shine on Harvest Moon (1908,), Down by the Old Mill Stream (1910) and Let Me Call You Sweetheart

29. Tin Pan Alley
The lyrics of music from this period suggest that the USA was a peaceful, happy and prosperous place.
The many songs about the past describe warm memories of happy and innocent times in rural or small town settings.
The persistent image of one of the happiest and least troubled times in American history has been derived largely from these songs.
Compare those images to today's music which is mostly in an urban setting with very disturbing and violent images.
Tin Pan Alley was not about love peace and happiness, it was about selling songs.
There were no altruistic desires on the part of the publishers to solve the problems of society nor were they attempting to create a happy world
provide musical entertainment that allowed people to escape the realities of the hardships of life and their own life's troubles.

30. Tin Pan Alley
the publishers of Tin Pan Alley not only established an industry that continues in grand tradition but they also are responsible for the beautiful music and covers we enjoy today
what remains of Tin Pan Alley was put up for sale and the buildings will most probably be razed to make way for "progress."
The buildings, at 47, 49, 51, 53 and 55 West 28th Street, are being sold as a group for - hold on to your hat in these cacophonous economic times - a mere $44 million."

31. The Minstrel Show

32. The Minstrel Show
a theatrical entertainment consisting of songs, dances, comic turns, etc., performed by a troupe of actors wearing black face make-up
troupe, company - organization of performers and associated personnel
corner man, end man - a man at one end of line of performers in a minstrel show; carries on humorous dialogue with the interlocutor
interlocutor, middleman - the performer in the middle of a minstrel line who engages the others in talk
minstrel - a performer in a minstrel show

33. The Minstrel Show
The most popular musical stage shows of the early and mid 19th Century,
In the US they began in the 1840s
Both white and black performers donned blackface, and audiences of all colors loved it.
minstrel shows were the first form of musical theatre that was 100% American-born and bred.
performing songs and skits that sentimentalized the nightmare of slave life on Southern plantations
By the end of the Civil War the minstrel show had become world famous and respectable
Between 1750 and 1843, over 5,000 theater and circus productions included blackface.

34. The Minstrel Show
Some of the most famous songs in American history--Dixie, Camp town Races, Oh Susannah, My Old Kentucky Home--began as minstrel songs.
Thomas "Daddy" Rice caused a nationwide sensation by donning burnt cork to perform the song "Jump Jim Crow" on stage.
"Jim Crow" turned out to be more than a popular song. It became the name of one of minstrelsy's stock comedy characters, and a by-word for legalized racial oppression.
three stock characters were among several that reappeared in minstrel shows throughout the nineteenth century.
"Jim Crow" was the stereotypical carefree slave
"Mr. Tambo" a joyous musician,
Zip Coon" a free black attempting to "put on airs" or rise above his station

35. The Minstrel Show

36. The Minstrel Show
Dan Emmett, Frank Bower, Frank Pelham and Billy Whitlock became the first troupe to offer a full evening of blackface variety entertainment.
Most historians mark this production as the beginning of minstrelsy.
Most of the entertainment was improvised
They insulted each other, they baited each other, they made mincemeat of the language, they took the audience into their fun, and, in one night, they added a new form to show business in America

37. The Minstrel Show
in the twentieth century, several of the most famous minstrels were actually black me who wore makeup--the most famous being Bert Williams, who performed in blackface into the 1920s.
The first talking picture, "The Jazz Singer," (1927) was a blackface film
Minstrel shows continued to be popular well into the 1950s,
High schools, fraternities and local theater groups would often perform minstrel shows in blackface.
It became unpopular as African Americans asserted more political power in the 1950s.

38. The Minstrel Show
The long-running radio series Amos n' Andy featured two white actors impersonating contemporary black characters that were direct descendants of "Zip Coon" and "Jim Crow.“
Stephen Foster- American song writer of Camp town Races," "My Old Kentucky Home," "O Susanna
Minstrel star Dan Emmett composed the unofficial Southern anthem "Dixie.
George M. Cohan and Irving Berlin.
Al Jolson- most famous actor who got his start in a minstrel show
Jolson immortalized blackface in several films, including the talking landmark The Jazz Singer (1928).

39. The Minstrel Show Al Jolson had dozens of top selling recordings
Jolson said that blackface gave him the emotional freedom he needed to take risks as a performer
In the first half of the 20th Century, he was billed as "The World's Greatest Entertainer“
last star of minstrelsy
legend in vaudeville,
Al Jolson had dozens of top selling recordings
Became the first talking film star
Was a popular presence on network radio.

40. The Minstrel Show
The bizarre minstrel show might be easier to understand in modern terms.
Think of white rappers, or white rock musicians who play blues-derived music.
When they imitate black musicians, are they expressing admiration, or are they just stealing?
Are they sincerely trying to come to some understanding of cultural difference, or are they just engaging in minstrel parody without the make up
Similarly, are black musicians who play to a predominantly white audience, particularly those produced by Sean "Puffy" Combs, doing something similar to what Bert Williams did?

41. Vaudeville
In the 1880’s after the Industrial Revolution, people started to concentrate in cities and towns instead of rural communities
Looking for higher paying jobs and more opportunities of success
Worked hard and long hours and wanted to be entertained after hours
variety shows were too coarse for women or children to attend,
minstrel shows were already declining in popularity
In a world where phonographs, film, radio and television did not yet exist, something new was needed to fill the gap.
Vaudeville also tried to bridge a social gap that had divided American audiences
Vaudeville was developed by entrepreneurs seeking higher profits from a wider audience.

42. Vaudeville Tony Pastor-Invented Vaudeville in 1881
music and comedy" designed for family audiences
Pastor showcased the finest talents on the variety stage, giving crucial opportunities to future stars
Pastor never expanded beyond his small theatre near Union Square.
A place families could call home for their entertainment
Pastor's "clean" variety show was an instant success, drawing an enthusiastic audience from all age groups and classes – including some of the most influential people in New York. 

43. Vaudeville
Benjamin Franklin Keith and Edward F Albee made a quick fortune with unauthorized productions of Gilbert and Sullivan operettas.
started build a chain of ornate theatres across the northeastern United States
they instituted a policy of continuous multiple daily performances, which they called "vaudeville."
vaudeville spread through the United States, major theatre chains or circuits were built
By 1907 Vaudeville was earning $30 million a year
A successful act toured for forty or more weeks a year, doing "one nighters," split-weeks or weekly stands depending on a theatre’s size

44. Vaudeville
In 1919, when the average factory worker earned less than $1,300, a small time circuit performer playing a forty-two week season at $75 per week earned $3,150 a year.
The most celebrated vaudeville house of the early 1900s was New York's Victoria
The Orpheum Circuit- The Palace Theatre
An act could be anything that was inoffensive and entertaining. A performer's gender, race and appearance were no barrier to success,
While singers and dancers were part of every bill, the specialty acts set vaudeville apart

45. Vaudeville mind readers instrumentalists escape artists
flash acts - any "showy" act boasting its own lavish set, a large chorus, special effects, etc.
high divers
quick-change artists
strong men
living statuary
contortionists
balancing acts
freak acts - anyone acting crazy or silly - eccentric dancers, etc.

46. Vaudeville Douglas Fairbanks Judy Garland George Burns
Houdini
Hadji Ali would swallow water & kerosene, then spew kerosene onto open flames, followed by the water to put the flames out. Not pretty, but audiences were fascinated.
W.C. Fields
Will Rogers
Babe Ruth
Douglas Fairbanks
Judy Garland
George Burns
Abbot & Costello
The Three Stooges
Kate Smith
Mickey Rooney

47. Vaudeville As stars got more popular they went on to bigger projects
Movies started to gain popularity
audiences tastes changed and vaudeville theaters started to change over to movie theaters
1930’s talking movies
Great Depression
vaudeville singers and comics found a new home on radio, where "variety shows" offered something like audio vaudeville
Vaudeville led to the immergence of family friendly entertainment on radio, television, and movies
Ed Sullivan Show
Leave it to beaver
Carol Burnet show
Vaudeville was precursor to Broadway and Motion Pictures

48. TOBA Theater Owners and Booking Agency Black version of Vaudeville
vaudeville had black and white performers sharing the same stage as early as the 1890s
Most southern states did not allow blacks and whites to sit in the same theatre
the only venues below the Mason-Dixon Line that welcomed "colored" customers in the early part of the 20th Century
offered all-black bills for all-black audiences
It was the only way they could reach the appreciative black audiences of the deep South

49. Mason Dixon Line

50. TOBA Ethel Waters - who went on to Broadway and film stardom
Ma Rainey - jazz vocalist
Bert Williams - Ziegfeld Follies star
Bessie Smith - jazz vocalist
Bill "Bojangles"Robinson - tap dance legend
Many jazz artists got their start in TOBA
black audiences saw the same kinds of acts found in standard vaudeville
Faded in popularity due to the Great Depression

51. Jim Crow Laws
1865- Period called reconstruction Government provided civil right protection for African Americans
1877- End of reconstruction and withdraw of federal troops from the south
Legislature of the south passed the Jim Crow Laws
Prohibited African Americans from using same facilities as whites
Supported racial segregation
Jim Crow comes from minstrel song called Jump Jim Crow written in 1828 performed by Thomas Dartmouth “Daddy” Rice
1896-Plessy vs. Ferguson-resulted in 58 years of legal discrimination
1954 Brown vs. Board of Education - Thurgood Marshal
1954- Supreme court overturned Plessy vs Ferguson
1964-Modern Civil Rights Act