Recording Studios in Indiana
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Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe. -
Gramaphone 2
1 GRAMAPHONE 2 gramophone record, commonly stream in 1991.[1][2] However, they knownA as phonograph record (in continue to be manufactured and sold American English), vinyl record in the 21st century. The vinyl record (when made of polyvinyl chloride), regained popularity by 2008, with or simply record, is an analog sound nearly 2.9 million units shipped that storage medium consisting of a flat year, the most in any year since 1998. disc with an inscribed, modulated [3] They are used predominantly by spiral groove. The groove usually young adults, as well as DJs and au- starts near the periphery and ends diophiles for many types of music. As near the centre of the disc. Phono- of 2009, vinyl records continue to be graph records are generally described used for distribution of independent by their size ("12-inch", "10-inch", and alternative music artists. More "7-inch", etc.), the rotational speed mainstream pop releases tend to be they are played at ("33", "45", "78", mostly sold in compact disc or other etc.), their time capacity ("Long digital formats, but have still been re- Playing"), their reproductive accu- leased in vinyl in certain instances. racy, or "fidelity", or the number of A device utilizing a vibrating pen to channels of audio provided ("Mono", graphically represent sound on discs "Stereo", "Quadraphonic", etc.) of paper, without the idea of play- Gramophone records were the pri- ing it back in any manner, was built mary medium used for commercial by Edouard-Leon Scott of France in music reproduction for most of the 1857. -
Conference Program
55th ANNUAL CONFERENCE AND PRE-CONFERENCE WORKSHOP MAY 12-15, 2021 1 CONFERENCE SPONSORS PLATINUM Conference Grants from the Savada Family In memory of Morton J. and Lila Savada 2 ARSC Board of Directors Rebecca Chandler, President Cary Ginell, First Vice President Terri Brinegar, Second Vice President/Program Chair Roberta Freund Schwartz, Secretary Steven I. Ramm, Treasurer Jeff Willens, Member-At-Large Maya Lerman, Member-At-Large Nathan Georgitis, Executive Director 55th Annual Conference Planning Rich Markow, Conference Manager Curtis Peoples, Assistant Conference Manager Maya Lerman, Conference Registrar Dan Hockstein, Virtual Conference Manager Anna-Maria Manuel, Bill Klinger, Outreach Nathan Georgitis, Web Editor Yuri Shimoda, Mentoring Program Coordinator Program Committee Terri Brinegar, Chair Brenda Nelson-Strauss, Patrick J. Midtlyng, David Giovannoni, Dennis Rooney, Gary Galo Education & Training Committee Curtis Peoples, Yuri Shimoda, Co-Chairs Awards for Excellence Committee Roberta Freund Schwartz, Chair Technical Committee Brad McCoy, Chair Bill Klinger, Cylinder Subcommittee Conference Grants Committee David R. Lewis, Chair 3 ARSC 2021 Conference Schedule (All times are in EDT) WEDNESDAY MAY 12, 2021 11:00 am– 6:00 pm PRE-CONFERENCE WORKSHOP Digital Restoration in the 21st Century Seth B. Winner, Jessica Thompson, Bryan Hoffa, Richard Martin 11:00 am – 4:00 pm BOARD MEETING Sign-In 4:00 – 5:00 pm EXECUTIVE COMMITTEE MEETING Open to committee chairs and board members. Sign-In 8:00 – 9:00 pm Introduction to ARSC - Mentoring Program Event Open to all, registration required Society for Ethnomusicology 2021 Annual Meeting October 28-31, 2021 Atlanta, Georgia Hosted by Georgia State University, University of Georgia, and Florida State University www.ethnomusicology.org 4 THURSDAY MAY 13, 2021 CONTINUOUS POSTER SESSION Gramophone Celebrities: A Pictorial Gallery Suresh Chandvankar 10:45 am – 12:30 pm PRESIDENT’S WELCOME OPENING PLENARY Using the New U.S. -
The Genesis of King Oliver's Creole Jazz Band Gene H
University of Richmond UR Scholarship Repository Music Faculty Publications Music Fall 1994 The Genesis of King Oliver's Creole Jazz Band Gene H. Anderson University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/music-faculty-publications Part of the African American Studies Commons, and the Musicology Commons Recommended Citation Anderson, Gene H. "The Genesis of King Oliver's Creole Jazz Band." American Music 12, no. 3 (Fall 1994): 283-303. doi:10.2307/ 3052275. This Article is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. GENE ANDERSON The Genesis of King Oliver's Creole Jazz Band On Thursday, April 5, 1923, the Creole Jazz Band stopped off in Rich- mond, Indiana, to make jazz history. The group included Joe Oliver and Louis Armstrong (comets), Johnny Dodds (clarinet), Honor4 Dutrey (trombone), Bill Johnson (banjo), Lil Hardin (piano), and Warren"Baby" Dodds (drums) (fig. 1). For the rest of that day and part of the next, the band cut nine portentous sides, in sessions periodically interrupted by the passage of trains running on tracks near the Gennett studios where the recording took place. By year's end, sessions at OKeh and Columbia Records expanded the number of sides the band made to thirty-nine, creating the first recordings of substance by an African American band--the most significant corpus of early recorded jazz - surpassing those of such white predecessors as the Original Dixieland Jazz Band and the New Orleans Rhythm Kings. -
MUSIC of AMERICA’S WHITE RURAL WORKING CLASS from the 1920S THROUGH the 1950S
DEFINING THE MUSIC OF AMERICA’S WHITE RURAL WORKING CLASS FROM THE 1920s THROUGH THE 1950s by THOMAS BECKER Submitted to the Department of History of the University of Kansas in partial fulfillment of the requirements for departmental honors Approved by: [Jonathan Hagel], Thesis Coordinator [David Roediger], Committee Member [Roberta Schwartz], Committee Member Date Defended: April 26th, 2019 Abstract This thesis discusses the recordings of hillbilly and folk music cut by record company agents and folklorists from the 1920s through the 1940s. These years saw the rise of recorded music as mass entertainment in the United States, and therefore are of importance as a watershed moment in the development of American music. The similarities and differences between the group of Artist and Repertoire men that recorded hillbilly music (along with many other varieties of American music) and the group of folklorists who recorded folk music are important in understanding the different ways that Americans have thought about the music of the white working class. This thesis argues that both the hillbilly and folk recordings were parallel attempts to synthesize music of and for the white working class. This paper focuses on the ideas of Alan Lomax, and accesses his letters and documents created for the Library of Congress to discuss his vision for “white folk music” as a cohesive and ongoing musical tradition produced and consumed by white Americans. This vision resembles the place in American society that hillbilly and later country music came to occupy. Given that the two genres were both intended as products of and for the white, rural working class, the most important difference between the recordings is in the reason that they were made. -
Dissertation Introduction
Copyright by Kyle Stewart Barnett 2006 The Dissertation Committee for Kyle Stewart Barnett certifies that this is the approved version of the following dissertation: Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 Committee: Thomas Schatz, Supervisor James Buhler John D.H. Downing James Hay Mary Celeste Kearney S. Craig Watkins ii Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 by Kyle Stewart Barnett, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 iii To Lisa Most of the recordings issued throughout the twentieth century were never simply marketed to or purchased by a huge undifferentiated ‘mass’ audience. Instead, the industry has, since its formation, sold music to the fans of particular styles, through a variety of changing labels…. In addition the recording industry has employed various legal and illegal, small-scale and team-based, marketing and promotional activities as a way of approaching consumers – practices which might well be labeled as ‘flexible.’ – Keith Negus, “Music Divisions: The Recording Industry and the Social Mediation of Cultural Production,” When the music business gets involved in promoting a style of music, it typically adopts colloquial terms that are verbs or adjectives and turns them into nouns – that is, into things, marketable objects that can be promoted, sold, and bought by a mass audience. – Larry Starr and Christopher Waterman, American Popular Music from Minstrelsy to MTV iv Acknowledgements I have relied on the help of many friends and colleagues in completing this project. -
CREATIVITY and INNOVATION in the MUSIC INDUSTRY Creativity and Innovation in the Music Industry
CREATIVITY AND INNOVATION IN THE MUSIC INDUSTRY Creativity and Innovation in the Music Industry by PETER TSCHMUCK Institute of Culture Management and Culture Science, University of Music and Performing Arts Vienna, Austria A C.I.P. Catalogue record for this book is available from the Library of Congress. ISBN-10 1-4020-4274-4 (HB) ISBN-13 978-1-4020-4274-4 (HB) ISBN-10 1-4020-4275-2 (e-book) ISBN-13 978-1-4020-4275-1 (e-book) Published by Springer, P.O. Box 17, 3300 AA Dordrecht, The Netherlands. www.springer.com Printed on acid-free paper Printed with the support of the Austrian Ministery of Education, Science, and Culture All Rights Reserved © 2006 Springer No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed in the Netherlands. TABLE OF CONTENTS Preface ix Acknowledgements xi Introduction xiii 1. Aim and Structure of the Book xiii 2. Implications of Culture Institutions Studies xvi Chapter 1: The Emergence of the Phonographic Industry 1 Within the Music Industry 1. The Phonograph as Business Machine 1 2. “Coin-in-the-Slot:”-Machine 6 3. Records and Gramophones 9 4. “Herr Doctor Brahms Plays the Piano” 15 Chapter 2: The Music Industry Boom until 1920 19 1. -
“When Swing Was King”
Did You Know? “When Swing Was King” Female singers in the big band Summer Newsletter and jazz era were often called canaries, a nickname reminiscent of those small, lovely songbirds. Well, here are a few canaries who started with big bands before their careers really took off. A Big Band Quiz 1) Which record was Bing Crosby’s Dale Evans first million seller? (Anson Weeks Orchestra) 2) Which big band was billed as playing “the sweetest music this side of heaven.” Dorothy Lamour 3) What NBC radio program ran from (Herbie Kaye Orchestra) Sed porttitor imperdiet odio. Sed ut leo.1936 -1959 featuring bands and singers[Date] doing the popular songs of the week? Rosemary Clooney 4) This singer, composer, and lyricist was (Tony Pastor Orchestra) also a co-founder of Capitol Records. Who was he? Harriet Hilliard Nelson 5) Vito Rocco Farinola is the ( Ozzie Nelson Orchestra) real name of what singer? 6) What big band leader recorded the Doris Day theme song for Dick Clark’s (Bob Crosby and “American Bandstand”? Les Brown Orchestras) 7) What were the top 3 songs in the summer of 1945? Dorothy Dandridge 8) When the Hollywood Palladium (Jimmie Lunceford Orchestra) opened in 1940, the nation’s top band performed. What was it? Kay Starr 9) The 1947 Rock-Ola, the 1952 Seeburg (Glenn Miller, Charlie Barnet, M100C, and the 1946 Wurlitzer 1015 and Joe Venuti Orchestras) are not cars. So, what are they? 10) What great singer/actress started as a Dinah Shore chorus girl at New York’s Cotton Club? (Xavier Cugat Orchestra) The Tops On Campus Starting in 1938, Billboard began a “College Music Poll,” asking students across America who were A Note from Denny & Claire their favorite big Last July I celebrated my 65th birthday by bands and vocalists. -
The Education and Tribulations of a Precursory Disc Recording Engineer
Preprint 794 (C6) The education and tribulations of a precursory disc recording engineer Robert J. Callen Glen Glenn Sound Company Los Angeles, California Presented at the 40th AES Convention 1971 April 27...30 Los Angeles, CA AN AUDIO ENGINEERING SOCIETY PREPRINT1 This paper relates how fate, inquisitiveness, and coincidence combined to train the writer as a pioneer electrical sound recording engineer. Early efforts (1925...1928) to design and operate audio recording equipment will be mentioned. Portable recording equipment made it possible for the author to record in many remote locations for the first time. Recording adventures in the orient will be emphasized with slides (not included in the preprint). INTRODUCTION Nineteen twenty-five is a year to be remembered by all disc recording engineers since it was during that year electrical recordings were first sold to the public in increasing numbers. They sold like hotcakes and looked like them. Even Edison offered such a jumbo hotcake, also a vertical recorded L.P. record. On Broadway “NO NO NANETTE” was a smash hit musical comedy. Vincent Youmans songs “TEA FOR TWO” and “I WANT TO BE HAPPY”were being played and sung throughout the nation on radio, in dance halls, and in homes, from phonograph records. And now this year (1971) “NO NO NANETTE”is back on Broadway and again it is an outstanding success. The star of the show is Ruby Keeler, who has not appeared on the Broadway stage since 1929. At that time she was the wife of Al Jolson, an entertainer who was responsible for the sale of millions of phonograph records. -
Hoagy Carmichael
s o A Quarterly of the Volume XVIII, Numbers 3/4 July 1 October 1999 Hoagy Carmichael: Back in Bloomington in 1919, Carmichael booked the Louisville-based band of Louie Jordan (not the later A Biographical Sketch jump-blues singer), and this experience spurred by John Edward Hasse Carmichael into becoming a self-described "jazz maniac." He also listened to records avidly. He made a trip to Chicago, where he heard Louis Armstrong-a musician The year 1899 was a seminal one in American music. who would influence him (and with whom he would record For in the space of seven months three auspicious events later). took place. Scott Joplin published his Maple Leaf Rag whose acceptance would become emblematic of the After completing high school, Carmichael entered Indi mainstrearning of .African -.Arnerican music in .f...merica...~ ana University where, judging from his memoir The S iardusi culture. And two, figures who would play pivotal roles in Road, it would seem he majored in girls, campus capers, th 20 century music-Duke Ellington and Hoagy and hot music. He reveled in a growing passion for jazz, Carmichael-were born. and started his own group, Carmichael's Collegians, which developed a reputation not only on campus, but in the Born Hoagland Howard Carmichael in Bloomington, In region, as they traveled through Indiana and Ohio to en diana, he grew up in very modest circumstances. His tertain young dancers. father earned an on-again, off-again living as an electri cian. His mother played piano for dances at local frater In the spring of 1924, Bix Beiderbecke-a young cor nity parties and at "silent" movies. -
Hoagy Carmichael's Riverboat Shuffle
Hoagy Carmichael’s Riverboat Shuffle Selected Recordings & Copyright Issues By Albert Haim and Robert Spoo Introduction On May 6, 1924, the seven members of the ‘Wolverine Orchestra’ went to the Gennett Recording Studios in Richmond, IN and waxed four numbers: Oh Baby!, Copenhagen, Riverboat Shuffle, and Susie. Riverboat Shuffle is the first Hoagy Carmichael composition that was ever recorded and soon became a jazz standard. Lord’s discography lists nearly 400 recordings between 1924 and 2015. We provide herein information about early recordings of the song and some intriguing aspects in the chronology of its copyrights. The ‘Wolverine Orchestra’. Richmond, Indiana, Figure 1, Doyle’s Dancing Academy, 1970s, shortly before the building was demolished. Courtesy of the late David May 1924 Bartholomew. The ‘Wolverine Orchestra’ secured a steady engagement at Doyle’s Dancing Academy in Cincinnati, OH beginning on floor of the building at the corner of Court Street and Central January 14, 1924. The Academy was located on the third Avenue in downtown Cincinnati. Figure 2. The ‘Wolverine Orchestra’, Doyle’s Dancing Academy, January 1924. Left to right: Vic Moore, George Johnson, Jimmy Hartwell, Dick Voynow (standing), Bix Beiderbecke, Al Gandee, Min Leibrook, Bob Gillette. Courtesy of John Vincent. The edition of the Wolverines between January 14 and jamming, listening to Stravinsky, having dialogues about March 31, 1924 consisted of eight musicians as seen in surrealistic themes with Carmichael and his friends in the Figure 2, a photograph taken at the Academy in January legendary Book Nook. Sudhalter and Evans [1] describe the 1924. interactions between Bix and Hoagy’s gang: “It (the Book Nook) played host to everything, from deep philosophical The Wolverines were not happy playing at the Academy.