DOCSLIB.ORG

The Music Trade Review

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Music Trade Review Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org 52 THE MUSIC TRADE REVIEW NOVEMBER 26, 1921 VICTOR ARTISTSJN CINCINNATI ENDORSE LOS MGELES CONCERT "SWEET LADY^ FEATURED Appear in That City Under Auspices of Bald- Music Trades Association Expresses Apprecia- Columbia Record of Recent Hit Basis of Attrac- win Co. and Praise Baldwin Grand Piano tion of Concert Work of Los Angeles Express tive Window Display Featuring Talking Machine Records CINCINNATI, O., November 21.—The Eight Fa- S. M. Creedman, Columbia dealer, at 4502 mous Victor Artists, who have been making a Los ANGELES, CAL., November 11.—The success Thirteenth avenue, Brooklyn, N. Y., recently pre- concert tour of the country, appeared recently of the daily concerts at the Los Angeles Express pared an unusual sales campaign, featuring the in this city, under the auspices of the Victrola Auditorium was emphasized by a letter from the Columbia record of "Sweet Lady," that not only Music Trades Association, addressed to F. W. Kel- logg, owner and business manager, who said: "The_ members of the Music Trades Association of Southern California wish to express their appreciation of the plan put forward by the Los Angeles Evening Express for the advance- ment of music through the phonograph record, and by means of sixty-four concerts being held at the Express Auditorium. ''They appreciate the won- derful value to music which Window Display of Columbia Record is being given through edi- proved a direct success, but was valuable from torial and news publicity by a publicity angle. the Los Angeles Evening In the preparation of this campaign Mr. Creed- The Eight Victor Artists in Baldwin Co. s Warerooms Express and recognize the man was assisted by Mr. Luders, of the local department of the Baldwin Piano Co., and at- generosity shown in the giving of cash prizes wholesale staff of the Columbia Graphophone Co., tracted a capacity audience. for encouragement for those of the public who and the campaign started with the use of local Following the concert the Victor artists interest themselves in these concerts. newspaper advertising, consisting of three lines visited the Baldwin Piano Co. warerooms and "At the same time they wish to pledge their and reading as follows: "Sweet Lady. Want are shown herewith grouped about the Bald- unanimous support and co-operation in this excel- an introduction? Ask Creedman, he knows." win concert grand piano, an instrument similar lent and altogether novel idea." "Sweet Lady. Is she worth knowing? Ask to the one used at the concert. The artists Creedman, he knows." This advertising was continued until two days before the record was were enthusiastic regarding the Baldwin piano PUBLICITY VIA A_VICTOR CONCERT as an instrument to accompany their voices. placed on sale and, at that time, a good-sized Windsor Poling Co. Holds McCormack Con- display advertisement was featured, explaining in They are from left to right: Frank Croxton, full who "Sweet Lady" was and when and where Billy Murray, John Meyer, Henry Burr, Monroe cert and Gets Some Free Advertising— Tickets Sold by House-to-house Canvass she could be found. The newspaper contributed Silver, Frank Banta and Albert Campbell. Fred a half-column story commenting upon the inter- Van Eps, the eighth member, was not present est which the idea had aroused and giving a when this group picture was made. AKRON, O., November 22.—The Windsor Poling detailed explanation regarding "Sweet Lady." In Cincinnati hospitality overwhelmed the gentle- Co., Victor dealer, one of the latest additions to addition to selling over one hundred "Sweet men and their appreciation reflected itself in the the music houses of this city, is gaining a great Lady" records on the day the record was an- song, "When Good Fellows Get Together," just deal of publicity through the medium of a series nounced Mr. Creedman also sold 175 other before the camera clicked. of concerts, featuring prominent Victor artists. Columbia records as a result of this publicity. The second concert, which was held last week, NEW ARTO "BLUES" RECORDS at which John McCormack made his appear- ance, was a tremendous success. The concert HANDSOME ^ONORA SLIDES Recordings by the Well-known Colored Singer, was held in the armory and more than 2,500 per- Lucille Hegamin, Appear in the December List sons were present. Sonora Phonograph Co. Has Series for Dealers' of Arto Co., Inc.—Proving Very Popular The Windsor Poling Co. instituted a house-to- Use Adapted to Holiday Season house canvass for the sale of tickets, and so Lucille Hegamin, the well-known colored great was the interest in the performance that One of the recent advertising features being singer of "blues" songs who makes frequent in a short time the entire lot was completely dis- furnished dealers by the Sonora Phonograph Co., recordings for the Arto Co., Inc., and who posed of. 279 Broadway, New York, who are also market- recently returned from a very successful tour ing the Sonora piano and player-piano, is a series of moving picture slides which can be used for OPENING OYSTERS TO MUSIC Oyster Packing Concern Increases Production by Means of a Grafonola CAMBRIDGE, MD., November 21.—The Eastern Shore Music Co., of this city, Columbia dealer, recently sold an A-2 Grafonola to the Robbins Oyster Packers Co., which is being used in the shucking room. Referring to this purchase, Mr. Robbins recently said: "We can now get a sur- plus of shuckcrs who turn out half again as many oysters as the men formerly did before the Grafonola was installed. It is certainly an unu- sual sight to sec the negro shuckers opening oysters to the tune of the 'Wang Wang Blues.' The oysters farly dance out of their shells." Miss Lucille Hegamin NEW POSTS FOR COLUMBIA MEN of the principal cities of the Eastern States, has Dealer's name and address here been re-engaged by the Arto Co. for the coming H. L. Tuers, manager of the Dealer Service year. department of the Columbia Graphophone Co., In the December list of Arto records appear announced recently the appointment of G. T. several new recordings by this popular artist, in- Harris as Dealer Service supervisor at the com- Sonora Slide for Use of Dealers cluding "Mississippi Blues" and "Wabash Blues." pany's St. Louis branch, succeeding W. John- advertising purposes in local theatres. One of The latter number has already attained much ston, who has resigned. Mr. Tuers also an- these is especially adapted to the holiday season, popularity and as "Mississippi Blues" is by the nounced the appointment of W. W. Schumacher as may be seen in the accompanying illustration, writer of "Arkansas Blues," and is a typical num- as Dealer Service supervisor at the Detroit suitable space being left for the dealer's name ber of that style of song, this new record will, branch, succeeding J. F. Megirt, who has been and address. These slides are very artistic and undoubtedly, be received most favorably. appointed a member of the Cleveland staff. highly colored, making a most attractive display..
Load more

Recommended publications
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • HEGAMIN, LUCILLE, 1894-1970. Lucille Hegamin Papers, 1894-1969
    HEGAMIN, LUCILLE, 1894-1970. Lucille Hegamin papers, 1894-1969 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Hegamin, Lucille, 1894-1970. Title: Lucille Hegamin papers, 1894-1969 Call Number: Manuscript Collection No. 1134 Extent: .5 linear foot (1 boxes) and 1 oversized papers box (OP) Abstract: Papers of African American blues singer Lucille Hegamin, including correspondence, photographs, printed material, manuscript music scores, and financial material. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Separated Material The African American Sheet Music Collection contains items originally part of the Lucille Hegamin Papers. Source Purchase, 2001 Custodial History Originally received as part of the Bill Crawford and New World Book Fair collection. Citation [after identification of item(s)], Lucille Hegamin papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Lucille Hegamin papers, 1894-1969 Manuscript Collection No. 1134 Processing Processed by Elizabeth Roke, March 1, 2010 This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear and ongoing efforts to remediate racist, ableist, sexist, homophobic, euphemistic and other oppressive language.
    [Show full text]
  • LEATHERS JEWISH WORD ROLLS \ 267 Der Erster Chaver
    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org JUNE 11, 1921 THE MUSIC TRADE REVIEW 57 TMENT A PLAYER SALESMANSHIP SCHOOL one of the greatest obstacles to increased player sales to-day is the poor playing by owners, Gulbransen-Dickinson Co. Plans to Conduct which is largely due to the fact that they were School During Summer Months Under John never painstakingly informed concerning the Martin—Three-day Courses Being Arranged correct manipulation of this instrument. The Gulbransen-Dickinson Co. has always CHICAGO, III., June 7.—Three-day courses of in- pioneered in educational work for the player- struction in the selling of player-pianos are now pianos, first among the tuners, in order to in- being arranged by the Gulbransen-Dickinson crease their knowledge of its mechanical side, Co. for the benefit of their retail dealers and later among dealers, salesmen and the pub- throughout the country. Classes of twenty-five lic, emphasizing the musical possibilities of the are now being formed as the reservations come Gulbransen. in and it looks as though the thing is going to The fact that to get business now requires prove highly popular with the trade. It is be- more effort makes the men who sell keen to lieved that a course in player salesmanship con- obtain every possible help in improving their ducted by a man like Martin can accomplish individual selling ability. much for those who wish to sell these instru- John Martin's new method of selling player- ments in a way that keeps them sold and main- pianos will be the outstanding feature of the tains the interest of the purchaser after the player salesmanship school.
    [Show full text]
  • SPIVEY, VICTORIA. Victoria Spivey Papers, Circa 1960-1976
    SPIVEY, VICTORIA. Victoria Spivey papers, circa 1960-1976 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Spivey, Victoria. Title: Victoria Spivey papers, circa 1960-1976 Call Number: Manuscript Collection No. 809 Extent: 7.75 linear feet (17 boxes), 1 oversized papers box (OP), and 1 bound volume (BV) Abstract: Papers of Victoria Spivey, African American blues artist, motion picture actress, and owner of Spivey Records. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Due to the fragile nature of some of the materials, researchers are required to use photocopies. Terms Governing Use and Reproduction Printed or manuscript music in this collection that is still under copyright protection and is not in the Public Domain may not be photocopied or photographed. Researchers must provide written authorization from the copyright holder to request copies of these materials. Source Purchase, 1997 with subsequent additions Citation [after identification of item(s)], Victoria Spivey papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Emily Blanck, March, 1999; Revised This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Victoria Spivey papers, circa 1960-1976 Manuscript Collection No.
    [Show full text]
  • Detroit Blues Women Michael Duggan Murphy Wayne State University
    Wayne State University Wayne State University Dissertations 1-1-2011 Detroit blues women Michael Duggan Murphy Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the African American Studies Commons, Music Commons, and the United States History Commons Recommended Citation Murphy, Michael Duggan, "Detroit blues women" (2011). Wayne State University Dissertations. Paper 286. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. DETROIT BLUES WOMEN by MICHAEL DUGGAN MURPHY DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: HISTORY Approved by: ____________________________________ Advisor Date ____________________________________ ____________________________________ ____________________________________ DEDICATION “Detroit Blues Women” is dedicated to all the women in Detroit who have kept the blues alive, to the many friends, teachers and musicians who have inspired me throughout my life, and especially to the wonderful and amazing family that has kept me alive. Many thanks to Lee, Frank, Tom, Terry, Kim, Allison, Brendan, John, Dianne, Frankie, Tommy, Kathy, Joe, Molly, Tom, Ann, Michael, Dennis, Nancy, Mary, Gerry, Charles, Noranne, Eugene, Maegan, Rebecca, Tim, Debby, Michael Dermot and Angela. ii ACKNOWLEDGMENTS I would first like to thank my advisor and committee chair John J. Bukowczyk for his friendship, his editing skills, and his invaluable guidance through all stages of this dissertation. Throughout my graduate career, Dr. Bukowczyk has been generous mentor with a great deal of insight into the workings of the University and the world at large.
    [Show full text]
  • Early West Coast Jazz
    1 Index Early West Coast Jazz & 'Reb' spikes - 2 Bands in Los Angeles - 75 Garland - 19 New Orleans Musician on the West Coast - 77/78 More on 'Reb' - 21 Carey-78, Petit-91, Coycault-94, Garland-95 Jelly Roll - 33 Bios of Famous West coast Musicians - 103 Norskog & first Negro Jazz Record - 38 Clay-103, Howrd-125, Woodman-131, Anderson-134, Hightower-134 Johnny spikes - 59 Los Angeles Bands - 134 Adam 'Slocum" Mitchell - 66 Mosby & The Blueblowers-137, Mitchell-145 Black & Time Line of 'Reb' Spikes - 70 Tan Band-134, Sunnyland Jazz Band-16 Places in Los Angeles - 71 Joe Darrenbourg - 147 Bands in Los Angeles - 75 Photos - 153-185 2 Early West Coast Jazz and The Spike Brothers of Los Angeles And New Orleans Musicians “Any talk of jazz on the West Coast must bring to mind the activities of the famous Spikes Brothers, for indeed they were, for a long period, the hub around which everything revolved.” Thus wrote Ray MacNic in his article on ”Reb Spikes-Music Maker.” Reb Spikes (1888-1982) Reb Spikes was born October 31, 1888 in Dallas, Texas. He was the youngest child in a family with three brothers and two sisters (three other children died in childbirth). His mother’s name was Medora Kirby Spikes. His father’s name was Munroe Spikes. In about 1893 or 1894 there was an awful fire to the family house and the family moved into one of their rental houses. There was a white woman named Miss Augustine that taught music, coming weekly to teach at the Spikes’ house.
    [Show full text]
  • AUCTION CLOSES MIDNIGHT SUNDAY 29Th OCTOBER 2017
    OFFERS INVITED by Mark Berresford Rare Records The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England. Tel: (+44) 1773 550275 Email: [email protected] Postage and packing in purpose-built new boxes extra. Winners only notified. Condition, as ever, guaranteed. Minimum bid unless stated £8/$10, however I reserve the right to refuse bids I consider unrealistic. HOW TO BID Basically, there are two ways of bidding; first is the simple Straight Bid - you offer a fixed amount for an item and if yours is the high - est bid, you win. Secondly, and easier for those more familair with internet auctions, and for those collectors unsure of what to offer, is the Maximum Bid. You offer a bid to a maximum amount, which will be increased in 10% increments over the nearest bid up to your maximum amount. For example, you bid to a maximum of $100 on an item, but the next highest bid is $20 - you will pay $22, i.e. 10% over the the next highest bid. In the event of a tie the fixed bidder, or earliest-placed bid wins. IMPORTANT! Please make clear the system of bidding you are using and currency you are bidding in (Pounds Sterling, Euros or US Dollars). If you have a maximum budget to spend, please advise with your bids. Please also double check your item numbers when bidding - I do not use titles or issue numbers on my auction spreadsheet, so if you bid on the wrong number and win it, it’s yours! Payment by all major Credit and Debit Cards (not AmEx or Diners) as well as £ and US$ personal checks and Paypal and Transferwise.
    [Show full text]
  • Two Steps from the Blues: Creating Discourse and Constructing Canons in Blues Criticism
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2001 Two steps from the blues: Creating discourse and constructing canons in blues criticism John M. Dougan College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Literature Commons, Mass Communication Commons, and the Music Commons Recommended Citation Dougan, John M., "Two steps from the blues: Creating discourse and constructing canons in blues criticism" (2001). Dissertations, Theses, and Masters Projects. Paper 1539623381. https://dx.doi.org/doi:10.21220/s2-nqf0-d245 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. TWO STEPS FROM THE BLUES: CREATING DISCOURSE AND CONSTRUCTING CANONS IN BLUES CRITICISM A Dissertation Presented to The Faculty of the Department of American Studies The College of William & Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy by John M. Dougan 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3026404 Copyright 2001 by Dougan, John M. All rights reserved. UMI___ ® UMI Microform 3026404 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved.
    [Show full text]
  • Black Swan Returns to Pstjs on October 16!
    October 2016 Volume 41, Number 08 BLACK SWAN RETURNS TO PSTJS ON OCTOBER 16! Alan Phillips, the banjoist, was originally a French horn player who then moved on to piano tuning and restoration. He has played with a variety of Oregon groups, including the Eugene Symphony. That was probably not a banjo gig, but who knows? Ask Alan. The versatile drummer, Ron Leach, is a lifelong student of percussion. He has performed in Latin, blues, jazz, bluegrass, symphonic and theater groups throughout Oregon and was for three years music director aboard the Queen Of The West. Finally, there’s Marilyn Keller, the band’s crowd-pleasing singer. With her flawless vocal styling audiences can well imagine her as one of the stars of the original Black Swan recordings. Marilyn by George Swinford has recently returned from an extended The Black Swan band we’ll be hearing performing tour of northern Europe. The Black Swan Classic Jazz Band, last in October declares itself “dedicated to the Continued on page 4 heard on our stage in 2014, returns for our preservation and performance of Dixieland, October 16th concert. This fine group hails old-time gospel, early jazz and ragtime Editor’s note: See page 4 for more complete bios from Oregon’s Willamette Valley. music”. Here are the musicians who will of Black Swan. The band takes its name from Black demonstrate all that dedication: Swan Records, a Harlem-based company First, Kit Johnson, founder of the band, WHERE: founded in 1921. It was a black-owned and as he points out, owner (and operator) of Ballard Elks Lodge company and the first widely distributed the tuba.
    [Show full text]
  • Blues, Rhythm & Blues and Classic Soul
    N.A.R. HASLEWOOD SADMAN RECORDS SADMAN RECORDS SET-PRICE STOCK LIST: BLUES, R&B, BOOGIE AND GOSPEL ETC. P.O. BOX 1413 LEICESTER LE2 8ZE PUBLISHED: NOVEMBER 2015 U.K. TEL: (OO44) 0116 270 6325 TEL: (OO44) 07968 327155 (mobile) Welcome to Sadman Records' blues list for 2015 - yet again late this year but hopefully worth the wait! E-MAIL: [email protected] www.sadmanrecords.com SEE YOU AT THE RECORD FAIR: We will be attending the following upcoming record fairs. 1. UTRECHT, NETHERLANDS, SATURDAY-SUNDAY NOVEMBER 21ST/22ND. CONTENTS OF SADMAN BLUES LIST 2015. SECTION ONE -12" LPs IN ALPHABETICAL ORDER BY ARTISTS. SECTION TWO - COMPILATION/ANTHOLOGY 12" LPs IN ALPHABETICAL ORDER BY LABEL. POST AND PACKAGING CHARGES U.K./INLAND: 1 LP-2LPs = £4.00; 3LP-7LPs = £7.00, 7+ LPs = £14.00. There is now no ordinary parcel post over 2kg. EUROPE: 1LP = £5.00; 2LP = £7.50; 3LP = £9.50; 4LP = £11.00; then £1.00 per disc up to a maximum weight of 2kg (usually 7LPs). Ask for weights over this. WORLDWIDE: 1LP = £8.00; 2LP = £12.00; 3LP = £15.00; 4LP = £18.00; then £2.50 per disc up to a maximum weight of 2kg. Ask for weights over this. If you wish to have records sent by surface mail (6-8 weeks delivery time), this is possible outside Europe. The cost is slightly more than half the air-mail price. If you want a quotation for this, or you have other special requirements regarding delivery, please get in touch. PLEASE NOTE THAT ALL VINYL RECORDS LISTED ARE IN AT LEAST E+ CONDITION (COVER/DISC) UNLESS OTHERWISE STATED.
    [Show full text]
  • Music 126/Ethnic Studies 178 the Blues: an Oral Tradition Fall 2017 Course Page/Syllabus
    Music 126/Ethnic Studies 178 The Blues: An Oral Tradition Fall 2017 Course Page/Syllabus Instructor Asher Tobin Chodos Lecture Tuesday and Thursday 6:30p-7:50p in Center Hall, room 216 Office Hours Thursdays 4:00pm - 6:00pm at the Art of Espresso Teaching Assistants hold office hours by appointment Leah Bowden -- (Ahmed-Jarret) Kyle Motl -- (Jung-Nygard) Eliot Patros -- (Oulad-Zou) Final Exam Tuesday, 12/12/2017, 7:00p-9:59p, location TBA Course Overview Objectives This course traces the history of the blues from their beginnings to the present. We will approach the subject in two ways: 1. As a musical form. Here students will learn to appreciate and analyze the evolution of the diverse musical techniques that fall under the broad generic banner of "blues." Students will also enrich their understanding of American popular music in general by learning to hear the ways in which it derives from blues. 2. As a cultural product that can be uniquely instructive for the study of American history and culture. After learning to hear the spectrum of stylistic nuance in the blues, students will learn to interpret its significance. In this way students will not only deepen their knowledge of the narrative history of the United States, but will do so from the perspective that only aesthetic analysis can offer. The idea that music discloses basic truths about its social environment is a fundamental principle of musicology; in addition to offering students a course in American history through the lens of one of its most important cultural products, this course introduces students to the practice of musicology.
    [Show full text]
  • The Recording Industry's Influence on Vernacular Traditions 1920-1960
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2013 The Recording Industry's Influence on Vernacular Traditions 1920-1960: Illustrated Case Studies of Mamie Smith, the Carter Family, and Leadbelly Amanda Kate Smith University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons Recommended Citation Smith, Amanda Kate, "The Recording Industry's Influence on Vernacular Traditions 1920-1960: Illustrated Case Studies of Mamie Smith, the Carter Family, and Leadbelly" (2013). Theses and Dissertations. 162. https://dc.uwm.edu/etd/162 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE RECORDING INDUSTRY’S INFLUENCE ON VERNACULAR TRADITIONS 1920-1960: ILLUSTRATED CASE STUDIES OF MAMIE SMITH, THE CARTER FAMILY, AND LEADBELLY by Amanda Smith A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin—Milwaukee May 2013 ABSTRACT THE RECORDING INDUSTRY’S INFLUENCE ON VERNACULAR TRADITIONS 1920-1960: ILLUSTRATED CASE STUDIES OF MAMIE SMITH, THE CARTER FAMILY, AND LEADBELLY by Amanda Smith The University of Wisconsin-Milwaukee 2013 Under the Supervision of Professor Gillian Rodger In this study, the Kingston Trio’s 1958 recording of “Tom Dooley” is used as a starting point to explore the recording industry’s commercialization of folk music in the first half of the twentieth century. Three case studies – Mamie Smith, the Carter Family, and Leadbelly – address trends in academic folk music scholarship that juxtaposed an initial rise in a commercial music culture that began with early 1920s race recordings and culminates in the folk-revival in the post-WWII period.
    [Show full text]