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Rise and Fall of Tin Pan Alley (Subotnik, Spr
Music 133: Rise and Fall of Tin Pan Alley (Subotnik, Spr. 2003)—p. 1 MUSIC 133: SEMINAR IN AMERICAN MUSIC: THE RISE AND FALL OF TIN PAN ALLEY Spring Semester, 2003 Rose Rosengard Subotnik COURSE DESCRIPTION: Focusing on the decades between the 1880s and the 1950s, this course examines social, musical and commercial forces behind the emergence and decline of Tin Pan Alley as well as changes in the substance, treatment, and significance of its songs during their years of popularity. Topics addressed include national identity and race relations as well as the difficulties of analyzing popular music. GOALS OF COURSE: The goal of this course is to give you a sound musical, historical, and critical sense of the Tin Pan Alley type of song, of the changes in style and role that characterized such songs over several generations, and of the various kinds of responses they have generated. Questions we will consider include 1) musical ones (e.g. What repertories does the term “Tin Pan Alley song” designate? In what ways is it useful to discuss the musical characteristics of such songs [their history? their structure? the various styles and mediums that made use of such songs? the identity of the artists who presented them?]] How might we assign musical value to this general category of song, and how might we evaluate individual songs within this category? Why is the Tin Pan Alley song typically denigrated in contrast to jazz, blues, and rock music? What happened to this type of song in the late 1940s and the 1950s, both before and during the transition to rock and roll?); and 2) cultural ones (e.g. -
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. -
Examples of Gold Standard Workforce Development Partnerships
Examples of Gold Standard Workforce Development Partnerships October 2018 Prepared under contract PY17-BGCC-X-351-VAR for Workforce Snohomish BGCC Business Government Community Connections Annie Laurie Armstrong 22 West Armour Street, Seattle, WA 98119 (206) 619-0808 [email protected] https://bgccseattle.workpress.com/ Table of Contents 1. Introduction 1 2. Study Methods 4 3. Assumptions Driving the Work of Gold Standard 5 Workforce Development Partnerships 4. Gold Standard Worksite Development Partnership Descriptions 8 5. Observations 23 6. Next Steps 24 Attachment 1 - Summary of Gold Standard Workforce Development Partnership Characteristics Attachment 2 - Key Contacts 24 i | P a g e Examples of Gold Standard Workforce Development Partnerships 1. Introduction Workforce Snohomish, a local workforce development board (WDB) located in Everett, Washington, is getting ready to launch a renewed focus on Snohomish County’s ambitious Blueprint Strategic Planning and Implementation process. Workforce Snohomish was a founding member in Snohomish County’s pioneering efforts to design services that address the needs of local targeted industry sectors through the Snohomish County Blueprint Partnership. The Partnership, formed in 2003 and active through 2015, was comprised of representatives from Snohomish County Government; the local economic development council; the local workforce development council; every public K-20 educational institution operating in Snohomish County as well as a private industry educational organization; and an aerospace industry association. The initial charge of the Partnership was threefold: 1. Lay the groundwork for the development of plans and programs supporting targeted sectors through the efficient and cost-effecting use of federal, state, and local resources; 2. Make the case that Snohomish County is a region for the development of the sectors; and 3. -
Red Hot Songs
Red Hot Songs 1 2 4 5 A B C D E F G H I J K L M N O P Q R S T U V W Y Z Red Hot Songs - ['] Song Title Artist/Group or Commentary 'Lasses Candy Original Dixieland Jass Band 'Round My Heart Coon Sanders Nighthawks Orchestra 'S Wonderful 'Tain't Clean Boyd Senter Trio http://cij-assoc.com/jazzpages/alphasonglist.html [2003-02-19 00:49:52] The Red Hot Jazz Archive - Songs Red Hot Songs - [1] Song Title Artist/Group or Commentary 1-2-1944 (intro, song - "Valencia") 12-24-1944 (intro, Bing, Pops & The King's Men) 12-28-1938 (intro) 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Blues Anthony Parenti's Famous Melody Boys 12th Street Rag Richard M. Jones 18th Street Stomp Fats Waller 18th Street Strut The Five Musical Blackbirds 18th Street Strut The Bennie Moten's Kansas City Orchestra http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (1 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs 1919 Rag Kid Ory's Creole Orchestra 1943 (Gracie's "Concerto for Scales and Clinker") 19th Street Blues Dodds And Parham http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/1.html (2 of 2) [2003-02-19 00:50:48] The Red Hot Jazz Archive - Songs Red Hot Songs - [2] Song Title Artist/Group or Commentary 29th And Dearborn Johnny Dodds and his Chicago Boys 29th And Dearborn Richard M. Jones' Three Jazz Wizards http://cij-assoc.com/jazzpages/Red_Hot_Songs_files/rhsongs/2.html [2003-02-19 00:51:05] The Red Hot Jazz Archive - Songs Red Hot Songs - [4] Song Title Artist/Group or Commentary 47th Street Stomp Jimmy Bertrand's -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 8-26-2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography" (2016). Faculty Publications: School of Music. 64. http://digitalcommons.unl.edu/musicfacpub/64 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 08/26/2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. They are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012/2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases. None of them is any kind of finished, polished document; all represent work in progress, complete with missing data and the occasional typographical error. -
The Blues Scale
Blues Ukulele Workshop Four part workshop with songbook 1. Structure and feel of blues songs 2. Turnarounds and dominant 7ths 3. The blues scale 4. Putting it all together A web-based listening guide is also provided Accompanying songs for parts: 1. How Long Blues, Baby What You Want Me to Do 2. Red River Blues in G & E, 3. You Got to Move, Sitting On Top Of The World 4. See See Rider Trouble in Mind Review quizzes for, Big parts Boss 1 -3Man, Backwater Blues Recommended from ukeeducation.org Fingerpicking for uke Scales and Chords Fretboard learning tool Material compiled and arranged by Spencer Gay 2018 The Copyrighted songs provided free herein are for education and thus fall under FAIR USE This book is not for sale Blues The blues is a feelin’… a good man feelin’ bad – a woman waitin’ for her man – losin’ your lover. Singing the blues is a good way to lose them Also, it is the name of a common song format – whether 12 or 8 bar blues Lyrics often are in an AAB format; the first line is then repeated - the third explains or ties the thought together. Try creating some new lyrics of your own to see how this works. A If I feel tomorrow the way I feel to day From St. Louis Blues - W.C. Handy A If I feel tomorrow the way I feel today B ‘Gonna pack my grip and make my getaway Relative Chord Naming - Roman Numerals Chords can be identified relative to the root (the key in which the song is composed.) This is the one chord, shown in roman numerals, I. -
Number 108 • Summer 2005 2005 Conference Breaks All Records! Events Our Recent Annual Conference in Austin Was a Great Success, and Just a Whole Lot of Fun
Newsletter Association For Recorded Sound Collections Number 108 • Summer 2005 2005 Conference Breaks All Records! Events Our recent annual conference in Austin was a great success, and just a whole lot of fun. The weather was magnificent, the banquet outstanding, the March 17-20, 2006. 40th Annual ARSC Conference, Seattle, Washington. http:// fellowship stimulating, and the presentations were interesting and varied. www.arsc-audio.org/ Official attendance for the Austin conference was 175, which bested our previous record by around 50 persons, and we had 75 first-timers, many August 13-14, 2005. CAPS Show and Sale, of whom indicated that they would be attending future conferences. Buena Park, CA. http://www.ca-phono.org/ show_and_sale.html Thanks to our Lo- cal Arrangements August 15-21, 2005. Society of American Committee, tours Archivists (SAA), Annual Meeting, New to the Lyndon B. Orleans, LA. http://www.archivists.org/ Johnson Presiden- conference/index.asp tial Library and the Austin City September 11-15, 2005. International Asso- Limits studio went ciation of Sound and Audiovisual Ar- chives (IASA), Annual Conference, Barcelona, without a hitch, Spain. Archives speak: who listens? http:// and other than a www.gencat.net/bc/iasa2005/index.htm brief Texas frog- strangler, the October 7-10, 2005. Audio Engineering Soci- weather was ety (AES), Annual Convention, New York City. beautiful and http://www.aes.org/events/119/ David Hough, audio engineer for the PBS program Austin City Lim- cooperative. its, on the set of the show at the KLRU studios on the UT campus. October 23, 2005. Mechanical Music We had nearly 100 Extravaganza. -
The Harlem Renaissance: a Handbook
.1,::! THE HARLEM RENAISSANCE: A HANDBOOK A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY ELLA 0. WILLIAMS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA JULY 1987 3 ABSTRACT HUMANITIES WILLIAMS, ELLA 0. M.A. NEW YORK UNIVERSITY, 1957 THE HARLEM RENAISSANCE: A HANDBOOK Advisor: Professor Richard A. Long Dissertation dated July, 1987 The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement. (C) 1987 Ella 0. Williams All Rights Reserved ACKNOWLEDGEMENTS Special recognition must be given to several individuals whose assistance was invaluable to the presentation of this study. -
BRUCKEN the Members of the Other
Senate Passes Athletic. Home Guard Bills SOUTHERN INDIANA'S FROM Only THE Colored PEN \ Weekly It might be interesting to note that the general predic Cents tion making its round is that a total of $5,000,000 will be Per Copy §S7| NDI ANA'S (^ MOST ..RfcOQ^stMVSMi^W.E B^Ll cut in the State budget for the next two years. This would 5 mean that about $96,000,000 would be the budget, exclusive (I think) of some revenue from the State Hi-Way Dep't. ******* Evansville's heaviest snow of the winter fell Tuesdav. It measured only three-fourths of an inch by 9 o'clock that VOL. 3 — No. 35 — EVANSVILLE, INDIANA, FRIDAY, MARCH 7, 1941 night. ******* Picked up this little interesting data:—It is estimated that federal expenditures during the 1941-42 fiscal year will reach a total of 17 billion dollars, or $17,000,000,000. (the Vi lie's Lone Sepia Draft Board Member same thing.) To give you an idea of just how much that Festival Council really is, listen to this, "if a printing press had begun turn ing out dollar bills at the rate of one a second when Colum bus first landed in the new world and had continued to pro duce at the same rate ever since, the amount still would be three billion dollars short of the sum required to pay the. Plans '41 Event estimated expenses of the government for the next fiscal year." According to proposed plans sponsoring of a section night at the same place, the Argus of "If 17 billion dollar bills were laid end to end, they drawn up in a meeting, of the during the festival for their re fice, 609 S. -
Download Booklet
120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s. -
The Many Faces of “Dinah”: a Prewar American Popular Song and the Lineage of Its Recordings in the U.S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Many Faces of “Dinah” The Many Faces of “Dinah”: A Prewar American Popular Song and the Lineage of its Recordings in the U.S. and Japan Edgar W. Pope 「ダイナ」の多面性 ──戦前アメリカと日本における一つの流行歌とそのレコード── エドガー・Ｗ・ポープ 要 約 1925年にニューヨークで作曲された「ダイナ」は、1920・30年代のアメリ カと日本両国におけるもっとも人気のあるポピュラーソングの一つになり、 数多くのアメリカ人と日本人の演奏家によって録音された。本稿では、1935 年までに両国で録音されたこの曲のレコードのなかで、最も人気があり流 行したもののいくつかを選択して分析し比較する。さらにアメリカの演奏家 たちによって生み出された「ダイナ」の演奏習慣を表示する。そして日本人 の演奏家たちが、自分たちの想像力を通してこの曲の新しい理解を重ねる中 で、レコードを通して日本に伝わった演奏習慣をどのように応用していった かを考察する。 1. Introduction “Dinah,” published in 1925, was one of the leading hit songs to emerge from New York City’s “Tin Pan Alley” music industry during the interwar period, and was recorded in the U.S. by numerous singers and dance bands during the late 1920s and 1930s. It was also one of the most popular songs of the 1930s in Japan, where Japanese composers, arrangers, lyricists and performers, inspired in part by U.S. records, developed and recorded their own versions. In this paper I examine and compare a selection of the American and Japanese recordings of this song with the aim of tracing lines ─ 155 ─ 愛知県立大学外国語学部紀要第43号（言語・文学編） of influence, focusing on the aural evidence of the recordings themselves in relation to their recording and release dates. The analysis will show how American recordings of the song, which resulted from complex interactions of African American and European American artists and musical styles, established certain loose conventions of performance practices that were conveyed to Japan and to Japanese artists. It will then show how these Japanese artists made flexible use of American precedents, while also drawing influences from other Japanese recordings and adding their own individual creative ideas.