1. Popular Music of the Nineteenth and Early Twentieth Centuries Minstrelsy and Stephen Foster

2. Minstrelsy The Minstrel Show The Minstrel Show –Featured mainly white performers who artificially blackened their skin and carried out parodies of African American music, dance, dress, and dialect

3. George Washington Dixon The first white performer to establish a wide reputation as a “blackface” entertainer The first white performer to establish a wide reputation as a “blackface” entertainer Made his New York debut in 1828 Made his New York debut in 1828 His act featured two of the earliest “Ethiopian” songs, “Long Tail Blue” and “Coal Black Rose.” His act featured two of the earliest “Ethiopian” songs, “Long Tail Blue” and “Coal Black Rose.”Coal Black RoseCoal Black Rose

4. Thomas Dartmouth Rice (1808–60) White actor born into a poor family in New York’s Seventh Ward White actor born into a poor family in New York’s Seventh Ward Demonstrated the potential popularity and profitability of minstrelsy with the song “Jim Crow” (1829) Demonstrated the potential popularity and profitability of minstrelsy with the song “Jim Crow” (1829) “Daddy” Rice’s Jim Crow character “Daddy” Rice’s Jim Crow character –Spoke and sang in a dialect that was based partly on preexisting white rural characters

5. “Zip Coon” Shortly after Rice's “Jim Crow” became famous, George Washington Dixon performed as “Zip Coon.” Shortly after Rice's “Jim Crow” became famous, George Washington Dixon performed as “Zip Coon.” “Jim Crow” was supposed to be a southern slave, dressed in rags; “Zip” (derived from the name Scipio) was supposed to be a northern, urban, dandified black. “Jim Crow” was supposed to be a southern slave, dressed in rags; “Zip” (derived from the name Scipio) was supposed to be a northern, urban, dandified black.

6. “Zip Coon” “Ethiopian” song hit “Ethiopian” song hit Published in New York in 1834 Published in New York in 1834 Verse-chorus ballad form Verse-chorus ballad form Verses contain images of banjo playing, wild dancing, and barnyard animals. Verses contain images of banjo playing, wild dancing, and barnyard animals. – “Zip a duden duden duden zip a duden day” (direct ancestor of the song “Zip a Dee Doo Dah,” featured in Walt Disney’s 1947 cartoon Song of the South)

7. The Virginia Minstrels (1843) Led by white banjo virtuoso Dan Emmett (1815- 1904), created a lengthy stage performance that featured a standardized group of performers: Led by white banjo virtuoso Dan Emmett (1815- 1904), created a lengthy stage performance that featured a standardized group of performers: –Mr. Interlocuter—lead performer who sang and provided patter between acts –Mr. Bones and Mr. Tambo—sat at either end of the line of performers. Dan Emmett claimed to have writtenDixie’s Land. Dan Emmett claimed to have writtenDixie’s Land.Dixie’s Land.Dixie’s Land.

8. Minstrelsy From the 1840s through the 1880s, the predominant genre in the United States From the 1840s through the 1880s, the predominant genre in the United States An important influence on the mainstream of American popular song An important influence on the mainstream of American popular song Minstrel troupes toured the United States constantly, helping create an embryonic national popular culture. Minstrel troupes toured the United States constantly, helping create an embryonic national popular culture. The minstrel show is the direct ancestor of vaudeville. The minstrel show is the direct ancestor of vaudeville.

9. An Early Pop Songwriter: Stephen Collins Foster (1826–64) The most influential songwriter of American popular song during the nineteenth century The most influential songwriter of American popular song during the nineteenth century Composed around two hundred songs during the 1840s, 1850s, and early 1860s Composed around two hundred songs during the 1840s, 1850s, and early 1860s Foster was probably the first person in the United States to make his living as a full-time professional songwriter. Foster was probably the first person in the United States to make his living as a full-time professional songwriter.

10. Foster’s Songs “Oh! Susanna” “Oh! Susanna” “Oh! Susanna” “Oh! Susanna” “Old Folks at Home” “Old Folks at Home” “My Old Kentucky Home, Good Night” “My Old Kentucky Home, Good Night” “Jeanie with the Light Brown Hair” “Jeanie with the Light Brown Hair” “Jeanie with the Light Brown Hair” “Jeanie with the Light Brown Hair” “Beautiful Dreamer” “Beautiful Dreamer” “Beautiful Dreamer” “Beautiful Dreamer”

11. Stephen Collins Foster (1826–64) His earliest musical experiences were dominated by the sentimental song tradition. His earliest musical experiences were dominated by the sentimental song tradition. Foster knew and incorporated into his work the various song styles popular in mid-century America. Foster knew and incorporated into his work the various song styles popular in mid-century America.

12. Listening: “Jeanie with the Light Brown Hair” An example of Foster’s sentimental “Irish” style, strongly reminiscent of the songs of Thomas Moore An example of Foster’s sentimental “Irish” style, strongly reminiscent of the songs of Thomas Moore An example of a form that would become increasingly common in American popular music An example of a form that would become increasingly common in American popular music –Four-section song with an AABA melodic structure –The A sections begin identically, but their endings vary slightly. –The B section introduces a new melody and chords and acts as a musical “bridge” that leads us to the final A section.

13. Listening: “Jeanie with the Light Brown Hair” A1: I Dream of Jeanie with the light brown hair... A1: I Dream of Jeanie with the light brown hair... A2: I see her tripping where the bright streams play… A2: I see her tripping where the bright streams play… B: Many were the wild notes her merry voice would pour… B: Many were the wild notes her merry voice would pour… A3: I dream of Jeanie with the light brown hair … A3: I dream of Jeanie with the light brown hair …

14. Stephen Collins Foster (1826–64) Foster’s success was supported by a number of social and technological factors: Foster’s success was supported by a number of social and technological factors: –Minstrel troupes performed his songs on their tours. –Sheet music –Rapid growth of public music education –Expanded domestic production of cheap pianos –The parlor

15. Stephen Collins Foster (1826–64) Foster died in obscurity and poverty at the age of thirty-seven. Foster died in obscurity and poverty at the age of thirty-seven. –Copyright enforcement in the mid-nineteenth century did not favor songwriters. –Foster’s first success, the plantation song “Oh! Susanna” (1847), was sold outright to a music publisher for one hundred dollars.

16. Popular Music of the Nineteenth and Early Twentieth Centuries Dance Music, Brass Bands, and Tin Pan Alley

17. Dance Music American popular music has been closely bound up with dance and with the various social functions of dancing. American popular music has been closely bound up with dance and with the various social functions of dancing. The earliest examples of published dance music in the United States were modeled on styles popular in England. The earliest examples of published dance music in the United States were modeled on styles popular in England.

18. Contradance or Country Dance Tradition Until the early twentieth century, social dancing among white Americans was dominated by offshoots of the contradance or country dance tradition. Until the early twentieth century, social dancing among white Americans was dominated by offshoots of the contradance or country dance tradition.

19. The Grand Ball Originally modeled on the aristocratic occasions of European royalty Originally modeled on the aristocratic occasions of European royalty Provided an important public venue for Americans hoping to demonstrate their refinement and knowledge of high culture Provided an important public venue for Americans hoping to demonstrate their refinement and knowledge of high culture

20. Brass Bands Military bands made up of brass instruments (e.g., trumpets, cornets, trombones, and tubas) spread rapidly during and after the Civil War. Military bands made up of brass instruments (e.g., trumpets, cornets, trombones, and tubas) spread rapidly during and after the Civil War. Drew energy from the interaction of patriotism and popular culture Drew energy from the interaction of patriotism and popular culture

21. John Philip Sousa (1854–1932) America’s “March King” America’s “March King” The most popular bandleader of the late nineteenth and early twentieth centuries The most popular bandleader of the late nineteenth and early twentieth centuries

22. John Philip Sousa John Philip Sousa (1854 – 1932) John Philip Sousa The son of a trombonist in the U.S. Marine Band. The son of a trombonist in the U.S. Marine Band. He eventually became the Marine Band’s conductor and later formed a successful “commercial” concert band touring the U.S. and Europe, giving over 10,000 concerts. He eventually became the Marine Band’s conductor and later formed a successful “commercial” concert band touring the U.S. and Europe, giving over 10,000 concerts. The band performed a mixture of marches, original works for band, and popular music of the day. The band performed a mixture of marches, original works for band, and popular music of the day.

23. “Business Bands” Touring bands not connected to government institutions—were an important part of the American music business. Touring bands not connected to government institutions—were an important part of the American music business. Italian concert bands Italian concert bands A national phenomenon and a powerful shaper of musical taste during the late nineteenth century A national phenomenon and a powerful shaper of musical taste during the late nineteenth century Contributed to later developments in popular music and jazz Contributed to later developments in popular music and jazz

24. The Birth of Tin Pan Alley By the end of the nineteenth century, the American music publishing business had become centered in New York City. By the end of the nineteenth century, the American music publishing business had become centered in New York City. After 1885, the established publishers were being challenged by smaller companies specializing in the more exciting popular songs performed in dance halls, beer gardens, and theaters. After 1885, the established publishers were being challenged by smaller companies specializing in the more exciting popular songs performed in dance halls, beer gardens, and theaters.

25. The Birth of Tin Pan Alley These new publishing firms—many of them founded by Jewish immigrants from Eastern Europe—had offices in a section of lower Manhattan, a dense hive of small rooms with pianos where composers and “song pluggers” produced and promoted popular songs. These new publishing firms—many of them founded by Jewish immigrants from Eastern Europe—had offices in a section of lower Manhattan, a dense hive of small rooms with pianos where composers and “song pluggers” produced and promoted popular songs. This stretch of 28th Street became known as Tin Pan Alley, a term that evoked the clanging sound of many pianos simultaneously playing songs in a variety of keys and tempos. This stretch of 28th Street became known as Tin Pan Alley, a term that evoked the clanging sound of many pianos simultaneously playing songs in a variety of keys and tempos.

26. The Birth of Tin Pan Alley The 1890s saw the rise of the modern American music business. The 1890s saw the rise of the modern American music business. Sheet music sold for between twenty-five and sixty cents. Sheet music sold for between twenty-five and sixty cents. The wholesale value of printed music in the United States more than tripled between 1890 and 1909. The wholesale value of printed music in the United States more than tripled between 1890 and 1909.

27. Vaudeville Theatrical form descended from music hall shows and minstrelsy Theatrical form descended from music hall shows and minstrelsy By the turn of the century, it had become the most important medium for popularizing Tin Pan Alley songs. By the turn of the century, it had become the most important medium for popularizing Tin Pan Alley songs. Vaudeville shows typically consisted of a series of performances presented one after the other without any overarching narrative theme. Vaudeville shows typically consisted of a series of performances presented one after the other without any overarching narrative theme.

28. Paul Dresser (1857–1906) One of the most popular composers of the early Tin Pan Alley period One of the most popular composers of the early Tin Pan Alley period Wrote a series of sentimental and nostalgic songs, including “The Letter That Never Came” (1885) and On the Banks of the Wabash, Far Away (1899; later adopted as the official state song of Indiana) Wrote a series of sentimental and nostalgic songs, including “The Letter That Never Came” (1885) and On the Banks of the Wabash, Far Away (1899; later adopted as the official state song of Indiana)On the Banks of the Wabash, Far Away On the Banks of the Wabash, Far Away

29. Harry von Tilzer Harry von Tilzer (1872–1946) Harry von Tilzer Sometimes referred to as the “Daddy of Popular Song” Sometimes referred to as the “Daddy of Popular Song” Successful turn-of-the-century songwriter Successful turn-of-the-century songwriter His big hits included “A Bird in a Gilded Cage” (1900) and “I Want a Girl (Just Like the Girl That Married Dear Old Dad)” (1911). His big hits included “A Bird in a Gilded Cage” (1900) and “I Want a Girl (Just Like the Girl That Married Dear Old Dad)” (1911). Von Tilzer was a calculating composer: one of his hints for aspiring songwriters was to keep the tunes to a limited range so that even a baby could hum them. Von Tilzer was a calculating composer: one of his hints for aspiring songwriters was to keep the tunes to a limited range so that even a baby could hum them. The songs of Dresser and von Tilzer represent the commercial peak of the nineteenth-century parlor song. The songs of Dresser and von Tilzer represent the commercial peak of the nineteenth-century parlor song.

30. James A. Bland (1854–1911) One of the best-known and most successful composers of plantation songs One of the best-known and most successful composers of plantation songs The first successful black songwriter The first successful black songwriter An ex-minstrel show performer from a middle- class background An ex-minstrel show performer from a middle- class background Wrote some seven hundred songs, including Wrote some seven hundred songs, including – “Carry Me Back to Old Virginny” (published in 1878, for a long time the official state song of Virginia) and Carry Me Back to Old VirginnyCarry Me Back to Old Virginny –“Oh, Dem Golden Slippers” (published 1879). Became popular in Europe, where he performed concerts for large fees Became popular in Europe, where he performed concerts for large fees

31. Charles K. Harris (1867–1930) Self-taught banjo player from Wisconsin Self-taught banjo player from Wisconsin Could not write down music Could not write down music Dictated his songs to a professional musician Dictated his songs to a professional musician Published “After the Ball” in 1892 Published “After the Ball” in 1892After the BallAfter the Ball –First “mega-hit” pop song –Eventually sold over five million copies in sheet music

32. “After the Ball” Harris paid a well known singer in a traveling theater production to incorporate “After the Ball” into his performance. Harris paid a well known singer in a traveling theater production to incorporate “After the Ball” into his performance. It soon became the most popular part of the play, and audiences requested that it be repeated several times during each performance. It soon became the most popular part of the play, and audiences requested that it be repeated several times during each performance. Harris published the song himself and was soon clearing around twenty-five thousand dollars a month. Harris published the song himself and was soon clearing around twenty-five thousand dollars a month. “After the Ball” was performed by John Philip Sousa’s band at the World’s Columbian Exposition in Chicago (1893). “After the Ball” was performed by John Philip Sousa’s band at the World’s Columbian Exposition in Chicago (1893).

33. “After the Ball” Tells a tragic story of lost love in the ballad tradition Tells a tragic story of lost love in the ballad tradition Waltz time, ¾ meter Waltz time, ¾ meter The form is strophic (verse-chorus) The form is strophic (verse-chorus) Each verse of “After the Ball” is followed by a chorus, a contrasting section consisting of a fixed melody and lyrics. Each verse of “After the Ball” is followed by a chorus, a contrasting section consisting of a fixed melody and lyrics. Three main sections or strophes, each made up of a verse and a chorus. Three main sections or strophes, each made up of a verse and a chorus.

34. Popular Music of the Nineteenth and Early Twentieth Centuries The Ragtime Craze: 1896–1918

35. Ragtime Music Emerged in the 1880s Emerged in the 1880s Its popularity peaked in the decade after the turn of the century. Its popularity peaked in the decade after the turn of the century. Ragtime initially was a piano music but gradually came to identify any syncopated music. Ragtime initially was a piano music but gradually came to identify any syncopated music. The term “ragtime” was used to describe any music that contained syncopation. The term “ragtime” was used to describe any music that contained syncopation.

36. Ragtime Music The word derives from the African American term “to rag,” meaning to enliven a piece of music by shifting melodic accents onto the offbeats (a technique known as syncopation). The word derives from the African American term “to rag,” meaning to enliven a piece of music by shifting melodic accents onto the offbeats (a technique known as syncopation). It began as an obscure folk-dance music played up and down the Mississippi valley during last quarter of the nineteenth century. It began as an obscure folk-dance music played up and down the Mississippi valley during last quarter of the nineteenth century. Ragtime energized popular music in America by adding rhythmic vitality (syncopation) to the music. Ragtime energized popular music in America by adding rhythmic vitality (syncopation) to the music.

37. The Banjo A stringed instrument developed by slave musicians from African prototypes during the early colonial period. A stringed instrument developed by slave musicians from African prototypes during the early colonial period. The basic patterns of ragtime music were transferred from the banjo. The basic patterns of ragtime music were transferred from the banjo.

38. Ragtime Also influenced by Latin American rhythms such as the Cuban habanera Also influenced by Latin American rhythms such as the Cuban habanera Marching band music contributed the regular “oom-pah” bass common in ragtime pieces. Marching band music contributed the regular “oom-pah” bass common in ragtime pieces.

39. Ragtime Songs Coon song Coon song –Popular among white audiences from the 1890s until World War I –Usually accompanied by a simplified version of the syncopated rhythms of ragtime piano music

40. “All Coons Look Alike to Me” All Coons Look Alike to MeAll Coons Look Alike to Me The first piece of sheet music to bear the term “rag” The first piece of sheet music to bear the term “rag” Composed by the African American songwriter Ernest Hogan Composed by the African American songwriter Ernest HoganErnest HoganErnest Hogan Published (complete with racist caricatures on the cover) in 1896 Published (complete with racist caricatures on the cover) in 1896

41. March Songs Ragtime-influenced songs that were less derogatory in content than coon songs Ragtime-influenced songs that were less derogatory in content than coon songs Owed less to the style developed by Joplin and other black pianists Owed less to the style developed by Joplin and other black pianists George M. Cohan (1878–1942), author of “You’re a Grand Old Flag” (1907) George M. Cohan (1878–1942), author of “You’re a Grand Old Flag” (1907) George M. Cohan You’re a Grand Old Flag George M. Cohan You’re a Grand Old Flag

42. Ragtime Songs The growing market for ragtime songs at the turn of the century suggests a continuation of the white fascination with African American music first evinced in minstrelsy. The growing market for ragtime songs at the turn of the century suggests a continuation of the white fascination with African American music first evinced in minstrelsy. Most popular ragtime songs were vigorous march-style songs with a few “irregular” rhythms added for effect. Most popular ragtime songs were vigorous march-style songs with a few “irregular” rhythms added for effect.

43. Scott Joplin (1868–1917) The most famous ragtime composer of the era The most famous ragtime composer of the era Best known for his piano rags Best known for his piano rags Born in Texas Born in Texas Began to play piano around the town of Texarkana during his teens and received instruction in classical music theory from a German teacher Began to play piano around the town of Texarkana during his teens and received instruction in classical music theory from a German teacher His first regular job as a pianist was in a cafe in St. Louis. His first regular job as a pianist was in a cafe in St. Louis.

44. Scott Joplin (1868–1917) Developed a “ragging” piano style, improvising around the themes of popular songs and marches in a syncopated style Developed a “ragging” piano style, improvising around the themes of popular songs and marches in a syncopated style Between 1895 and 1915, Joplin composed many of the classics of the ragtime repertoire Between 1895 and 1915, Joplin composed many of the classics of the ragtime repertoire Helped popularize the style through his piano arrangements, published as sheet music Helped popularize the style through his piano arrangements, published as sheet music

45. Scott Joplin (1868–1917) Joplin’s rags were also widely heard on player pianos. Joplin’s rags were also widely heard on player pianos. player pianos player pianos Player pianos were elaborate mechanical devices activated by piano rolls—spools of paper with punched holes that controlled the movement of the piano’s keys. Player pianos were elaborate mechanical devices activated by piano rolls—spools of paper with punched holes that controlled the movement of the piano’s keys.

46. “Maple Leaf Rag” (1898) Maple Leaf RagMaple Leaf Rag Scott Joplin’s first successful piece Scott Joplin’s first successful piece Named after the Maple Leaf social club in Sedalia, where he often played Named after the Maple Leaf social club in Sedalia, where he often played The piece was published in 1899 and became a huge hit, spreading Joplin’s fame to Europe and beyond. The piece was published in 1899 and became a huge hit, spreading Joplin’s fame to Europe and beyond. “Maple Leaf” started a nationwide craze for syncopated music. “Maple Leaf” started a nationwide craze for syncopated music.

47. Listening: “Maple Leaf Rag” The form and style are typical of “classic” ragtime. The form and style are typical of “classic” ragtime. “Maple Leaf” consists of a succession of four distinct themes: “Maple Leaf” consists of a succession of four distinct themes: –AABBACCDD –This type of form is common in marches. Right hand (melody) plays syncopated (“offbeat” or “staggered”) rhythms and riff-based melodies, usually built on three-note patterns. Right hand (melody) plays syncopated (“offbeat” or “staggered”) rhythms and riff-based melodies, usually built on three-note patterns. Left hand (accompaniment) plays regular bass part; march-like, two-beat patterns. Left hand (accompaniment) plays regular bass part; march-like, two-beat patterns. The rhythmic interest comes from the interplay of the two hands. The rhythmic interest comes from the interplay of the two hands.

48. Ferdinand “Jelly Roll” Morton Ferdinand “Jelly Roll” Morton New Orleans jazz pianist New Orleans jazz pianist Took Joplin’s composition and treated it as the basis for extended, rhythmically complex improvisations Took Joplin’s composition and treated it as the basis for extended, rhythmically complex improvisations Ferdinand “Jelly Roll” Morton’s version of “Maple Leaf Rag” can be heard in The Smithsonian Collection of Classic Jazz Ferdinand “Jelly Roll” Morton’s version of “Maple Leaf Rag” can be heard in The Smithsonian Collection of Classic Jazz

49. The Rise of the Phonograph Invented in 1877 by Thomas Alva Edison and, at around the same time, by a French inventor named Charles Cros Invented in 1877 by Thomas Alva Edison and, at around the same time, by a French inventor named Charles Cros The energy from sound waves was transferred to a foil or wax cylinder, which could then be used to reproduce the original sounds. The energy from sound waves was transferred to a foil or wax cylinder, which could then be used to reproduce the original sounds.

50. Phonograph Discs Two companies dominated the American market in phonograph discs at the turn of the century: Two companies dominated the American market in phonograph discs at the turn of the century: –Columbia Records (formed in 1887) –Victor Talking Machine Company (1901)

51. Phonograph Discs 1890s: The first nickelodeons—machines that played music hits for a nickel—were set up in public places. 1890s: The first nickelodeons—machines that played music hits for a nickel—were set up in public places. 1902: Enrico Caruso recorded a series of Opera arias in London. Victor sold over two million dollars’ worth of discs after his death in 1921. 1902: Enrico Caruso recorded a series of Opera arias in London. Victor sold over two million dollars’ worth of discs after his death in 1921. 1902: Twelve-inch shellac discs were introduced. 1902: Twelve-inch shellac discs were introduced.

52. Radio 1920: The first three commercial radio stations in the U.S. were established (KDKA in Pittsburgh, WWJ in Detroit, and WJZ in Newark). 1920: The first three commercial radio stations in the U.S. were established (KDKA in Pittsburgh, WWJ in Detroit, and WJZ in Newark). 1926: The first nationwide commercial radio network was established (National Broadcasting Company [NBC]). 1926: The first nationwide commercial radio network was established (National Broadcasting Company [NBC]). 1927: There were over 1,000 radio stations in the United States. 1927: There were over 1,000 radio stations in the United States.