Standards and Swing Style

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STANDARDS AND SWING STYLE ALL OF ME-SINATRA ALL THE THINGS YOU ARE- VARIOUS ALL THE WAY- SINATRA AUTUMN LEAVES-VARIOUS AS TIME GOES BY-CASABLANCA AT LAST- ETTA JAMES CAN'T TAKE MY EYES OFF OF YOU- LETTERMEN CRY ME A RIVER-JOHNNY RAYE DEEP PURPLE- VARIOUS DIDN'T WE- JIM WEBB DON'T GET AROUND MUCH- DUKE ELLINGTON EMBRACEABLE YOU FIVE FOOT TWO- VARIOUS FLY ME TO THE MOON-SINATRA FOR ONCE IN MY LIFE- TONY BENNETT FOR THE GOOD TIMES- RAY PRICE GEORGIA-RAY CHARLES / GOD BLESS THE CHILD-BS&T GOING OUT OF MY HEAD- LETTERMEN GOT YOU UNDER MY SKIN-SINATRA HERE'S THAT RAINY DAY-SINATRA HOW HIGH THE MOON- LES PAUL IT HAD TO YOU- VARIOUS I WANT TO BE AROUND-TONY BENNETT I’LL BE SEEING YOU-VARIOUS IN THE MOOD-GLENN MILLER KANSAS CITY-VARIOUS L-O-V-E- SINATRA MAKIN' WHOOPIE-DR JOHN MISTY-ERROL GARNER MOONGLOW-ARTIE SHAW / MOONLIGHT IN VERMONT- TONY BENNETT MORE THAN YOU KNOW- DR JOHN MY FUNNY VALENTINE- VARIOUS MY ROMANCE - LOUIE ARMSTRONG MOONDANCE- MICHAEL BUBLE MY ONE AND ONLY LOVE- VARIOUS NIGHT AND DAY- COLE PORTER NEW YORK NEW YORK- SINATRA OUR DAY WILL COME- TONY BENNETT / OUR LOVE IS HERE TO STAY- VARIOUS PAPER MOON- DORIS DAY ROUTE 66 -VARIOUS RED SAILS IN THE SUNSET- VARIOUS SAN FRANCISCO ( I LEFT MY HEART)- TONY BENNETT SATIN DOLL- DUKE ELLINGTON SCOTCH AND SODA-VARIOUS / SCRAPPLE FROM THE APPLE-CHARLIE PARKER / SEPTEMBER SONG- JOHNNY MATHIS SHES NO LADY- LYLE LOVETT SMILE- TONY BENNETT SMOKE GETS IN YOUR EYES- VARIOUS / SOMETHING-BEATLES SUMMER WIND- SINATRA SUMMERTIME- PORGY AND BESS / SUNNY SIDE OF THE STREET - FRED ASTAIRE TENDERLY- VARIOUS THAT'S LIFE-SINATRA UNFORGETTABLE-NAT KING COLE VIVALDI- MICHAEL FRANKS THE FOOL ON THE HILL -BEATLES THERE WILL NEVER BE ANOTHER YOU- SINATRA TILL THERE WAS YOU - VARIOUS YOU BELONG TO ME- VARIOUS WALKIN MY BABY BACK HOME-VARIOUS WAY YOU LOOK TONIGHT-SINATRA WHAT A WONDERFUL WORLD- LOUIE ARMSTRONG WHEN SUNNY GETS BLUE- NAT KING COLE WHO CAN I TURN TO- TONY BENNETT WITCHCRAFT- SINATRA YESTERDAY- BEATLES YOU DON'T KNOW ME- RAY CHARLES BOSSA / CUBAN / SOUTH AMERICAN STYLE BLACK ORPHEUS-BRAZILIAN BLUE BOSSA-BRAZILIAN BRAZIL-BRAZILAIN EUROPA-GATO BARBEIRI FEEL LIKE MAKING LOVE- SERGIO MENDEZ GENTLE RAIN- VARIOUS GIRL FROM IMPANEMA-JOBIM HELP FROM MY FRIENDS- SERGIO MENDEZ HOT HOT HOT- VARIOUS I NEED TO KNOW- MARC ANTHONY JUMP IN DE LINE- HARRY BELEFONTE KILLING ME SOFTLY- SERGIO MENDEZ LA BAMBA- VARIOUS LISTEN TO THE FALLING RAIN-JOSE FELICIANO LOOK OF LOVE-SERGIO MENDEZ MEDITATION-JOBIM MORE- VARIOUS MY CHERIE AMOUR- VARIOUS ONE NOTE SAMBA- JOBIM PATRICIA- VARIOUS PATRICIA- VARIOUS QUANDO QUANDO- VARIOUS QUIET NIGHTS, QUIET STARS- JOBIM SHADOW OF YOUR SMILE- VARIOUS SINCE I GOT YOU- MARC ANTHONY SMOOTH OPERATOR-SADE WATCH WHAT HAPPENS- WES MONTGOMERY WATCH WHAT HAPPENS-JOBIM WAVE- JOBIM .

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Women, Gender, and Music During Wwii a Thesis
EDINBORO UNIVERSITY OF PENNSYLVANIA PITCHING PATRIARCHY: WOMEN, GENDER, AND MUSIC DURING WWII A THESIS SUBMITTED TO THE FACULTY OF THE DEPARTMENT OF HISTORY, POLITICS, LANGUAGES, AND CULTURES FOR THE DEGREE OF MASTER OF ARTS SOCIAL SCIENCES-HISTORY BY SARAH N. GAUDIOSO EDINBORO, PENNSYLVANIA APRIL 2018 1 Pitching Patriarchy: Women, Music, and Gender During WWII by Sarah N. Gaudioso Submitted in Partial Fulfillment of the Requirements For the Master of Social Sciences in History ApprovedJjy: Chairperson, Thesis Committed Edinbqro University of Pennsylvania Committee Member Date / H Ij4 I tg Committee Member Date Formatted with the 8th Edition of Kate Turabian, A Manual for Writers of Term Papers, Theses and Dissertations. i S C ! *2— 1 Copyright © 2018 by Sarah N. Gaudioso All rights reserved ! 1 !l Contents INTRODUCTION 1 CHAPTER 1: HISTORIOGRAPHY 5 CHAPTER 2: WOMEN IN MUSIC DURING WORLD WAR II 35 CHAPTER 3: AFRICAN AMERICAN WOMEN AND MUSIC DURING THE WAR.....84 CHAPTER 4: COMPOSERS 115 CHAPTER 5: CONCLUSIONS 123 BIBLIOGRAPHY 128 Gaudioso 1 INTRODUCTION A culture’s music reveals much about its values, and music in the World War II era was no different. It served to unite both military and civilian sectors in a time of total war. Annegret Fauser explains that music, “A medium both permeable and malleable was appropriated for numerous war related tasks.”1 When one realizes this principle, it becomes important to understand how music affected individual segments of American society. By examining women’s roles in the performance, dissemination, and consumption of music, this thesis attempts to position music as a tool in perpetuating the patriarchal gender relations in America during World War II.
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Hits from the 1940S
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“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
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