IRVING BERLIN Revue As Thousands Cheer Et De La Comédie Musicale Sens Aigu De La Caractérisation D’Un Genre Et Le Célèbre Annie Get Your Gun

Total Page:16

File Type:pdf, Size:1020Kb

IRVING BERLIN Revue As Thousands Cheer Et De La Comédie Musicale Sens Aigu De La Caractérisation D’Un Genre Et Le Célèbre Annie Get Your Gun 559123 book 17/06/2003 3:55 pm Page 1 Les chansons réunies sur ce disque reflètent les relatant le timide combat romantique, voire érotique, nombreuses facettes de la carrière de Berlin. Alexander’s d’une jeune femme contre la tentation fut conçue à AMERICAN CLASSICS Rag Time Band et That International Rag représentent sa l’origine pour Top Hat mais fut finalement utilisée dans période ragtime, tout comme la douce et mélancolique Follow the Fleet en 1936 où elle rejoignit Let Yourself Go. ballade When I Lost You, présentée ici, hors de son Berlin composa de nombreuses chansons isolées qui contexte original, en style salsa. ne furent pas interprétées dans des productions de plus Les sélections d’œuvres scéniques sont extraites de la grande ampleur. (I’ll See You In) C.U.B.A. démontre son IRVING BERLIN revue As Thousands Cheer et de la comédie musicale sens aigu de la caractérisation d’un genre et le célèbre Annie Get Your Gun. Ecrit à partir d’éléments de Puttin’ On the Ritz constitue une étude de rythmes l’actualité des années 1930, As Thousands Cheer pose de syncopés ou agogiques aussi efficace que le Fascinating Berlin for Brass nos jours d’évidents problèmes d’adaptation mais il Rhythm de Gershwin. Le touchant What’ll I Do est contient certaines des plus importantes chansons de interprété avec la participation du bugle de Susan Sexton. Alexander’s Ragtime Band • Puttin’ On The Ritz • White Christmas Berlin. Une chanteuse ayant le mal du pays, et inspirée de Lazy et Listening sont de magnifiques exemples de la Joséphine Baker, chante plaintivement Harlem On My myriade de chansons de Berlin qui sont moins connues Mind dans son luxueux appartement parisien. Heat Wave mais qui méritent d’être redécouvertes. The Chestnut Brass Company est présenté dans un style latino torride. Berlin était passé La formation musicale de Berlin, comme celle de maître dans l’art de composer des chansons à la fois nombreux compositeurs américains de chansons, de particulières et s’adressant à tous. Le déchirant Supper Stephen Foster à nos jours, était lacunaire. Il possédait Time, chanté à l’origine par Ethel Waters, fut composé une voix ténue et grêle, un minimum d’aptitudes pour lire après avoir appris qu’un lynchage avait été commis mais et écrire la musique, et des dispositions quasi nulles pour exprime des sentiments qui peuvent s’appliquer à toute le piano. Il devait se faire aider par d’autres pour coucher famille brisée ou ayant perdu un être cher. sa musique sur le papier et identifier les harmonies qu’il They Say It’s Wonderful et There’s No Business Like entendait dans son imagination. Malgré ces handicaps, il Show Business sont tirés de Annie Get Your Gun et sont possédait une vision parfaitement claire de ce qu’il interprétés ici avec la participation du tromboniste Larry souhaitait et peaufinait ses chansons jusqu’à ce qu’elles Zimmerman. Cette turbulente ode au spectacle scénique soient parfaites. Cette exigence conférait à chaque montre toute la virtuosité de composition de Berlin : les chanson une vive personnalité et une structure solide qui quatre premières mesures sont écrites à partir de deux font le délice des arrangeurs. Les chansons de Berlin notes seulement, puis il se surpasse en développant les semblent ainsi malléables à l’infini. Les mélomanes huit mesures du chœur avec simplement trois notes. Le connaissent peut-être la ballade de Berlin The Song Is remarquable Blue Skies, une insouciante chanson en mode Ended dans la version à quatre temps d’Ella Fitzgerald, mineur, fut un « tube » à Broadway mais pas dans une mais l’original est en réalité une valse. Le plaisir qu’avait comédie musicale de Berlin. En effet, il fut intégré à la Berlin à jongler avec les styles se reflète également dans dernière minute dans un spectacle nommé Betsy de les arrangements de ses œuvres qui ont connus des Rodgers et Hart. versions inspirées du jazz, du ragtime, du Dixieland, du Outre White Christmas, les comédies musicales mambo, du calypso et de la salsa. cinématographiques sont représentées par les deux premières collaborations de Berlin avec Rogers et Astaire. Jay Krush Les chansons de Top Hat, réalisé en 1935, comprennent Top Hat, White Tie and Tails et No Strings (I’m Fancy Version française : Pierre-Martin Juban Free). Get Thee Behind Me, Satan, la saga humoristique 8.559123 8 559123 book 17/06/2003 3:55 pm Page 3 Irving Berlin (1888-1989) Berlin for Brass Irving Berlin (1888-1989) The life of the great American song-writer Irving Berlin remarried, making headlines by wedding Catholic La vie du grand compositeur américain de chansons, Irving années 1920 que Berlin, dont la première femme était spanned most of the great events of the twentieth socialite and author, Ellin Mackay. In 1934 Irving Berlin, a croisé tous les événements importants du décédée peu de temps après leur mariage en 1912, fit les century. His remarkable trajectory from a small town in Berlin travelled to Hollywood and wrote classic songs vingtième siècle. Son parcours exceptionnel, qui l’a mené gros titres en épousant Ellin Mackay, membre de la haute Russia to a mansion in Manhattan is the quintessential for the great Depression-era movie musicals starring d’une petite ville de Russie à une imposante propriété de société et auteur catholique. En 1934, Berlin se rendit à story of an immigrant who embraced the opportunities Fred Astaire and Ginger Rogers. Manhattan, illustre parfaitement l’histoire de cet immigré Hollywood et écrivit, durant la crise de années 1930, des America had to offer and who gave creative riches back During World War II, the ever-patriotic Berlin qui sut saisir toutes les opportunités que l’Amérique avait à titres pour des comédies musicales avec Fred Astaire et to it many times over. Descended from a line of cantors, created This Is The Army, a touring revue for the Allied offrir et qui donna en retour toute sa richesse créative à son Ginger Rogers qui devinrent des classiques. he was born Israel Baline in Byelorussia. Fleeing anti- troops, and travelled with it throughout many theatres pays d’adoption. Descendant d’une dynastie de cantors, Au cours de la Seconde Guerre mondiale, Berlin le Semitic pogroms, his family escaped to the United of the war, often in difficult circumstances and Berlin naquit en Biélorussie sous le nom d’Israel Baline. patriote créa This Is The Army, une revue destinée aux States when Berlin was five. The family, who spoke sometimes at considerable personal risk. His classic Afin d’échapper aux pogroms, sa famille partit pour les troupes alliées, et il voyagea avec l’œuvre sur de nombreux only Yiddish, passed through immigration at Ellis song White Christmas, written for the 1942 film Etats-Unis lorsque Berlin avait cinq ans. Sa famille, qui ne théâtres de guerre, souvent dans des circonstances difficiles Island and into the crowded tenements of the Lower Holiday Inn, was a nostalgic favourite to homesick parlait que le Yiddish, transita par Ellis Island puis vécut et prenant parfois des risques personnels considérables. Sa East Side of Manhattan. It was there that Berlin first American soldiers everywhere and has become the dans des bâtiments surpeuplés du Lower East Side de chanson White Christmas, qui est désormais un classique, showed his tremendous ability to adapt, to a new world’s best-selling piece of sheet music. Manhattan. C’est là que Berlin commença à démontrer sa fut composée pour le film Holiday Inn en 1942. Elle country, a new language and a new culture. This ability Lavish story musicals were staples on Broadway in formidable capacité d’adaptation à son nouveau pays, à sa figurait parmi les chansons favorites des soldats américains would later carry over into his music and he would use the optimistic post-war years and Berlin again adapted nouvelle langue et à sa nouvelle culture. Cette aptitude éloignés de leur pays et fut l’une des partitions les plus it to brilliantly navigate most of the trends of twentieth to the times, producing such hits as the 1946 Annie Get allait se manifester par la suite dans la musique qu’il vendues au monde. century popular culture. Your Gun. However, even Irving Berlin could not adapt composerait en épousant brillamment la plupart des De somptueuses comédies musicales proliférèrent à “Izzy” was thirteen when his father died, and he for ever. His last musical, the 1962 Mr. President, was tendances de la musique populaire du vingtième siècle. Broadway à la faveur de l’optimisme de l’après-guerre et, took to the streets finding what work he could, not a success. Rock-and-roll was becoming the « Izzy » avait treize ans lorsque son père mourut et il une fois encore, Berlin s’adapta à son époque, produisant eventually winding up as a singing waiter at a rough dominant music of popular culture and Berlin had se mit à arpenter les rues à la recherche d’un travail. Il finit des succès tels que Annie Get Your Gun en 1946. Toutefois, café in Chinatown. In 1907 he published a successful heard Elvis Presley sing White Christmas and hated it par atterrir dans un café miteux de Chinatown où il obtint même Irving Berlin ne pouvait s’adapter perpétuellement song, Marie From Sunny Italy, and by 1909 he was a with a passion. un poste de serveur et de chanteur. En 1907, il publia une aux nouvelles modes. Sa dernière comédie musicale Mr. regular on Tin Pan Alley, the centre of New York’s Irving Berlin had always been a driven man, small chanson à succès, Marie From Sunny Italy, et dès 1909, President en 1962, fut un échec.
Recommended publications
  • Sacred Music and Religious Themes
    Guide to the Sam DeVincent Collection of Illustrated American Sheet Music, Series 10: Sacred Music and Religious Themes NMAH.AC.0300.S10 NMAH Staff Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 4 Container Listing ............................................................................................................. 5 Subseries 10.1: Adam, Eve, and Eden, 1882-1971................................................. 5 Subseries 10.2: Angels, 1849-1961......................................................................... 5 Subseries 10.3: Bells and Chimes, 1848-1956........................................................ 5 Subseries 10.4: Biblical Characters and Stories, 1876-1986................................... 6 Subseries 10.5: Cathedral, Chapel, Church, 1866-1966.......................................... 6 Subseries 10.6: Choir, 1880-1937...........................................................................
    [Show full text]
  • Hello! My Baby Student Guide.Pdf
    Goodspeed’s Student Guide to the Theatre is made possible through the generosity of GOODSPEED MUSICALS GOODSPEED GUIDE TO THE THEATRE Student The Max Showalter Center for Education in Musical Theatre HELLO! MY BABY The Norma Terris Theatre November 3 - 27, 2011 _________ CONCEIVED & WRITTEN BY CHERI STEINKELLNER NEW LYRICS BY CHERI STEINKELLNER Student Guide to the Theatre TABLE OF CONTENTS NEW MUSIC & ARRANGEMENTS BY GEORGIA STITT ABOUT THE SHOW: The Story...................………………………………………….3 LIGHTING DESIGN BY JOHN LASITER ABOUT THE SHOW: The Characters...........................……………………………5 ABOUT THE SHOW: The Writers....................…..…………………………………...6 COSTUME DESIGN BY ROBIN L. McGEE Listen Up: Tin Pan Alley Tunes................………………………………................7 SCENIC DESIGN BY A Few Composers + Lyricists..............................……………………………….....8 MICHAEL SCHWEIKARDT Welcome to the Alley!...............…………………………………………………...10 CHOREOGRAPHED BY Breaking into the Boys Club......…………………………………………………...11 KELLI BARCLAY New York City..............................…………………………………………………...12 DIRECTED BY RAY RODERICK FUN AND GAMES: Word Search........................................................................13 FUN AND GAMES: Crossword Puzzle….……………………………...................14 PRODUCED FOR GOODSPEED MUSICALS BY How To Be An Awesome Audience Member…………………......................15 MICHAEL P. PRICE The Student Guide to the Theatre for Hello! My Baby was prepared by Joshua S. Ritter M.F.A, Education & Library Director and Christine Hopkins,
    [Show full text]
  • Gospel Music The
    Section 2 October 14, 1967 ocirill TheWorld of GOSPEL MUSIC THE EGC:311iiim THING IN GOSPEL MP "SIG HERE ARE JUST NINE OF THE MANY GREATGOSPEL HITS FEATURED BY PATHWAY GreiA a Name am. P.tw -OW Ow LP 6053 -SIP 6053 LP 3219 -SIP 3219 LP 6050-SLP 6050 BLACKWOOD MINERS afI SfR 4 ENSEMILE LP 6044-SLP 6044 LP 6055-SLP 6055 LP 6045-SLP 6045 LP 6051-SLP 6051 smirrrGATLIN TRIO 1-JAT H WAY RECORDS P. 0. BOX 880 I CLEVELAND, TENNESSEE 3 7 3 1 1 Exclusive Distributors for SKYLITE/SING (-4"HIGH VIDALaxy Sole International Distributors LP 6000-SLP 6000 LP 6056 -SIP 6056 and Sales Representatives for CHRISTIAN FAITH/TEMPLE/WORSHIP TheWorld of GOSPEL 1111SIC Contents GMA Gains in Stature 6 Gospel Enters the Mainstream -1967 8 It Is No Secret 10 Gos-Pop Sound Emerges 12 Religious Records Enjoy Longer Sales Life 16 Almost All Bluesmen Cut Gospel Records 18 Cathedral of Tomorrow 20 Chuck Wagon Gang 22 Nashville, a Center of Religious Music 22 National Quartet Convention 30 Bible Interest on Rise 32 Gospel Is Davis First Love 34 From Sausages to Sacred Music 36 Supreme Breaks Through 38 Gospel Symposium Honors Edwards 38 Women Promote Gospel Music 40 New Sound in Gospel Music 40 The Churches Are Singing More 42 Back to Historical Hymnity 44 Gospel Music Discography 46 Billboard Publications,Inc. General Advertising Office, N. Y. 2160 Patterson St., Cincinnati, 0. 45214 Advertising Manager Ron Carpenter Tel.: Area Code 513, 381-6450 PromotionDirector GeraldinePlatt Midwest MusicSales Richard Wilson West Coast Gen.
    [Show full text]
  • Call Me Madam, P
    NEW YORK CITY CENTER EDUCATION INSIDE ENCORES! Your personal guide to the performance. S AR E Y 5 7 TABLE OF CONTENTS CONTEXT Inspiration for Call Me Madam, p. 4-5 Meet the Creators & Artists, p. 6-7 An Interview with Casey Hushion, p. 8-9 Call Me Madam’s Lasting Influence on Encores!, p. 10-12 Glossary, p. 13 RESOURCES & ACTIVITIES Before the Show, p. 15 Intermission Activity, p. 16-17 After the Show, p. 18 Sources p. 19 Up Next for City Center Education p. 20-21 CONTEXT INSPIRATION FOR CALL ME Perle Mesta WHO WAS SHE? Perle Mesta was the first United States Ambassador to MADAM Luxembourg. The original “hostess with the mostest,” Mes- ta was known for hosting lavish parties in Washington D.C for almost 30 years. Born in Oklahoma, her family came into wealth when her father became involved in the oil and real-estate industries. In 1917 she married George Mesta, owner of Mesta Machinery. Mrs. Mesta became interested in politics when her husband introduced her to several high-ranking officials, including President Calvin Coolidge. Following her husband’s death, she became heavily involved in the quest for women’s rights and joined the National Women’s Party as its Congressional chairman and Public Relations specialist. While lobbying for the Equal Rights Amendment, she made a multitude of con- nections with politicians who would later attend her famous social gatherings. A Republican for most of her life, Mesta realigned herself with the Democratic party, opting to give financial support to then Senator Harry Truman.
    [Show full text]
  • CELEBRATION of the NEW COVENANT Luke 22:7-23; Acts 2:42; 1 Corinthians 11:23-32
    Covenant Community The Lord’s Supper: Celebration of the New Covenant Dr. David Platt March 29, 2009 THE LORD’S SUPPER: CELEBRATION OF THE NEW COVENANT Luke 22:7-23; Acts 2:42; 1 Corinthians 11:23-32 If you have a Bible, and I hope you do, let me invite you to open with me to Luke 22. We’re going to jump into the Word a little bit earlier than we normally do in our worship gathering, so that we might respond to the Word in the Lord’s Supper that we celebrate in just a minute. Luke 22, let me invite you to pull out those notes from the Worship Guide that you received when you came in. I want to start by connecting what we’ve just celebrated in baptism and what we are going to do in the Lord’s Supper. Baptism and the Lord’s Supper. In fact, I want to go back real briefly to the end of last week and extend a little bit on where we left off, maybe even clarify a little bit. When we were talking about baptism, we were looking at, “When should I be baptized?” What we saw in Scripture was clearly, as soon as you trust in Christ for salvation, you should be baptized. We added on to that, as soon as you can best publicly claim your faith in Christ through baptism. The reason we added that...we didn’t get to elaborate here...the reason we talk about baptism as a public act is because of what we had seen in New Testament picture in Acts, picture in the letters of the New Testament, that baptism is a public act.
    [Show full text]
  • “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
    “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans.
    [Show full text]
  • 61368/Sheet Music/9-36
    10 Sheet Music Direct 11 Complete Alphabetical Sheet Listing 30 Wedding Sheet Music 30 Easy Piano Sheet Music 31 Piano Solo Sheet Music 33 Big-Note Piano Sheet Music 34 Five-Finger Sheet Music 34 Piano Duet Sheet Music 34 Vocal Sheet Music 35 Organ Sheet Music 35 Guitar Sheet Music 35 Accordion Sheet Music 35 Instrumental Sheet Music 10 SHEETSHEET MUSICMUSIC DIRECTDIRECT SHEET MUSIC The most popular site on the web for downloading top-quality, accurate, legal sheet music! Sheet Music Direct (www.SheetMusicDirect.com) features nearly 10,000 popular songs in a variety of musical and notation styles, ranging from piano/vocal to guitar tablature. More top songs are added to Sheet Music Direct daily and are searchable by title, artist, composer or format. With state-of-the-art Scorch® 2 technology from Sibelius®, sheet music files are quick to download, fun to interact with, and easy to use; visitors can see the music on screen, transpose the song to any key, and even listen to a MIDI file of the tune before you buy it! We have the strongest encryption commercially available so you can be assured that all transactions are completely safe. Hal Leonard offers excellent in-store and on-line affiliate programs: The In-Store Program allows you to sell your customers sheet music from a computer within your store. You can view the music, transpose to any key, test print it, and listen to it before the customer purchases it. The On-Line Affiliate Program allows you to place a link to SMD on your own website, and earn commissions on the sales that these click- These programs are available to any throughs generate.
    [Show full text]
  • Liner Notes, Visit Our Web Site
    Irving Berlin “This Is the Life!” The Breakthrough Years: 1909–1921 by Rick Benjamin “Irving Berlin remains, I think, America’s Schubert.” —George Gershwin It was a perfect late summer evening in 2015. A crowd had gathered in the park of a small Pennsylvania town to hear the high-school band. I was there to support my trombonist son and his friends. The others were also mostly parents and relatives of “band kids,” with a sprinkling of senior citizens and dog walkers. As the band launched its “covers” of current pop hits toward the treetops, some in the crowd were only half-listening; their digital devices were more absorbing. But then it happened: The band swung into a new tune, and the mood changed. Unconsciously people seemed to sit up a bit straighter. There was a smattering of applause. Hands and feet started to move in time with the beat. The seniors started to sing. One of those rare “public moments” was actually happening. Then I realized what the band was playing—“God Bless America.” Finally, here was something solid—something that resonated, even with these teenaged performers. The singing grew louder, and the performance ended with the biggest applause of the night. “God Bless America” was the grandest music of the concert, a mighty oak amongst the scrub. Yet the name of its creator—Irving Berlin—was never announced. It didn’t need to be. A man on a bench nearby said to me, “I just love those Irving Berlin songs.” Why is that, anyway? And how still? Irving Berlin was a Victorian who rose to fame during the Ragtime Era.
    [Show full text]
  • Senior Soundings  May 2017 the Newsletter of the Groton Council on Aging Your Place for Support, Wellness and Life Long Learning 1-978-448-1170 163 West Main St
    Senior Soundings May 2017 The Newsletter of the Groton Council On Aging Your Place for Support, Wellness and Life Long Learning 1-978-448-1170 163 West Main St. (Rt.225) Groton, MA 01450 Hours: M-F 8:00am - 4:00pm Mission Statement: The Groton COA serves as the Friends of the Groton Elders community focal point promoting independence of older adults, through The work we do at the Council on Aging would not be possible without the information and referral, support of many collaborators. They come to us from private, public and the non support, health and profit industries. For many years, the Friends of the Groton Elders has been one wellness, socialization and of our direct supporters with sponsorship of educational programs and, by working education. Providing opportunities for all closely with the COA Outreach Coordinator, providing assistance to our residents individuals as they age by when there is an unmet need. The work they do in this community is often done leveraging resources, without notice however, it has an extraordinary impact on our senior residents. developing a sustainable future, and engaging in strong On Thursday, May 18th at 10:00am the Friends of the Groton Elders will partnerships and collaborations. be hosting a reception at the Senior Center for a conversation about the services Staff they provide and their desire for growth in this community. The work that can be Director done together is much stronger than if we work alone so please join them and see Kathy Shelp how you may be able to support their mission through working together.
    [Show full text]
  • Ella Fitzgerald Collection
    Ella Fitzgerald Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Revised 2010 December Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu010023 LC Online Catalog record: http://lccn.loc.gov/2006568227 Processed by the Music Division of the Library of Congress Collection Summary Title: Ella Fitzgerald Collection Span Dates: 1956-1992 Bulk Dates: (bulk 1960-1985) Call No.: ML31.F58 Creator: Fitzgerald, Ella Extent: 23,500 items ; 285 containers ; 176 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Ella Fitzgerald (1917-1996) was a popular and highly-respected American jazz and pop vocalist and recording artist. The Ella Fitzgerald Collection chiefly consists of musical arrangements made for her by more than fifty arrangers and orchestrators. Arrangers whose works are found in this collection include: Buddy Bregman, Benny Carter, Frank DeVol, Russ Garcia, Billy May, Marty Paich, Nelson Riddle, and Gerald Wilson. The arrangements consist of a combination of full scores and parts, and are often accompanied by piano-conductor short scores, reduced scores, lead sheets and lyric sheets. Music is found in the form of manuscripts, printed music, photocopies, and ozalids, often in multiple or different versions. In addition, the collection contains repertoire and program lists and other miscellaneous material, including a minimal amount of correspondence and photographs. Note: To find locations of arrangements within this finding aid, consult the Songs Index and Arrangers Index under Index Terms.
    [Show full text]
  • Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
    EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun.
    [Show full text]
  • Kelly, J.J..Pdf
    THE MUSE DONS KHAKI: AMER ICAN SONGS AND MUSIC OF WORLD WAR I by Jacquelin Joan .~~lly Thesis submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements for the degree of :Master of Arts 1963 ( . I APPROVAL SHEET Title of Thesis: The Muse Dons Khaki: American Songs and Music of World War I Name of Candidate: Jacquelin Master of Date Approved: ojd1 / b J ABSTRACT Title of Thesis: The Muse Dons Khaki: American Songs and Music of World War I Jacquelin Joan Kelly, Master of Arts, 1963 Thesis directed by: Gordon w. Prange, Professor Department of History During the years 1917 and 1918 the United States participated in a 11 war to end all wars. 11 During the conflict the government deliberately enlisted the power of song both at home and on the fighting front to help in the great task of winning the war. The idea of organized singing in the training of the U. s. Arrrry was comparatively new at the time America entered Wor ld War I, but it soon came to be recognized as an integral part of the training itself. The government encouraged singing in the army both on marches and in leisure-time groups because it contributed substantially to the enjoyment, contentment and efficiency of the soldier. The ballads, however, that eased tired muscles after a long days march and boosted morale after a day of heavy fighting were not government sponsored songs, but parodies and GI folk songs that the Sammies themselves composed.
    [Show full text]