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THE POPULAR AMERICAN BALLAD from 1920 – 1950 by Lisa R

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THE POPULAR AMERICAN BALLAD from 1920 – 1950 by Lisa R THE POPULAR AMERICAN BALLAD FROM 1920 – 1950 by Lisa R. Miller Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2016 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Ayana Smith, Research Director ______________________________________ Patricia Stiles, Chair ______________________________________ Brian L. Horne ______________________________________ Marietta Simpson November 14, 2016 ii Copyright © 2016 Lisa Miller iii To my husband, Dan—without you, none of this would have been possible. iv Acknowledgements I would like to express my gratitude and appreciation to my research director, Dr. Ayana Smith and my committee chair, Patricia Stiles. Both of these woman have made an enormous impact on me as a scholar, performer, and human being. When I thought I couldn’t complete this journey, you were there to encourage me and keep me motivated – for this, I am eternally grateful. I would also like to thank the other members of my committee, Dr. Brian Horne and Ms. Marietta Simpson, who have given me invaluable advice, support, and encouragement throughout this process. Friends, relatives, and colleagues have provided me with help and encouragement as well, but a special thanks goes to my husband, Dan, and children—Ashley, Kaleb, Allison, Abigail, and Annalise. Thank you for your encouragement and support. I love you guys! v Table of Contents Acknowledgements .......................................................................................................................... v List of Examples ............................................................................................................................ vii Chapter 1: The Popular American Ballad ........................................................................................ 1 Chapter 2: Composers and Lyrcists ................................................................................................. 6 Composers ................................................................................................................................... 6 Jerome Kern ............................................................................................................................ 6 Irving Berlin .......................................................................................................................... 10 Cole Porter ............................................................................................................................ 17 George Gershwin .................................................................................................................. 21 Lyricists ..................................................................................................................................... 24 Ira Gershwin .......................................................................................................................... 24 Oscar Hammerstein II ........................................................................................................... 25 Dorothy Fields ....................................................................................................................... 27 Chapter 3: An Annotated Guide to Selected Ballads of Kern, Berlin, Porter, and Gershwin ....... 30 Songs of Jerome Kern ............................................................................................................... 34 Songs of Irving Berlin ............................................................................................................... 51 Songs of Cole Porter .................................................................................................................. 68 Songs of George Gershwin ........................................................................................................ 84 Appendix ...................................................................................................................................... 100 Source Materials (Scores) ........................................................................................................ 100 Bibliography ................................................................................................................................ 101 vi List of Examples Example 1. Jerome Kern, “The Song Is You.” Measures 3-4, Double neighbor figure ....36 Example 2. Jerome Kern, “The Way You Look Tonight.” Measures 5-15, Three-stage melodic sequence, followed by scalar pattern .......................................................40 Example 3. Jerome Kern, “A Fine Romance.” Recurring rhythmic figure of quarter note- half note-quarter note .............................................................................................42 Example 4. Jerome Kern, “All the Things You Are.” Measures 21-28, Leaps of P4 and A4 ................................................................................................................... 44 Example 5. Jerome Kern, “I’m Old Fashioned.” Recurring rhythmic figure of the refrain ....................................................................................................................47 Example 6. Jerome Kern, “Long Ago and Far Away.” Measures 1-7. Two-bar motif, repeated three times. ..............................................................................................49 Example 7. Irving Berlin, “What’ll I Do?” Motivic sequence using triplet and large leap ................................................................................................................51 Example 8. Irving Berlin, “Always.” Melodic sequence ...................................................55 Example 9. Irving Berlin, “Blue Skies.” Melody beginning in E minor and cadencing in G major ..................................................................................................................57 Example 10. Irving Berlin, “Cheek to Cheek.” Measures 12-23. Interlocking thirds motif ...................................................................................................................63 Example 11. Irving Berlin, “Cheek to Cheek.” Measures 40-48. Syncopation in the “B” section ....................................................................................................................63 Example 12. Irving Berlin, “Cheek to Cheek.” Measures 61-64. Augmented triplet. .......63 Example 13. Cole Porter “Let’s Do It (Let’s Fall in Love).” Use of chromaticism in the refrain ....................................................................................................................68 Example 14. Cole Porter, “What is This Thing Called Love?” Rhythmic motif used throughout the refrain ............................................................................................70 Example 15. George Gershwin, “The Man I Love.” Rhythmic motif used throughout the refrain ....................................................................................................................84 Example 16. George Gershwin, “Who Cares?” Melodic pattern used in the verse ...........88 vii Example 17a. George Gershwin, “Who Cares?” Measures 41-46. Syncopation ..............88 Example 17b. George Gershwin, “Who Cares?” Measures 56-59. Change in syncopation ............................................................................................................89 Example 18a. George Gershwin, “You’ve Got What Gets Me.” Rhythmic pattern used in the verse .................................................................................................................90 Example 18b. George Gershwin, “You’ve Got What Gets Me.” Rhythmic pattern used in the refrain ...............................................................................................................90 Example 19. George Gershwin, “Nice Work If You Can Get It.” Juxtaposition of legato style and syncopation in the same musical phrase .................................................92 viii Chapter 1: The Popular American Ballad The songs from the “Golden Era” of the Broadway musical are part of popular American culture. The songs from this era were as well-known by the population of America as German Lieder were in most homes in nineteenth-century Germany and deserve to be studied in a formal way. These songs are beautiful and memorable and share many traits with art songs. According to Michael Feinstein, “It was a time when songs and songwriting were an essential part of the fabric of our culture and helped shape the attitudes, morals, and beliefs through their inherent power and ability to reach the hearts of the nation…”1 There are many reasons the music of the twenties, thirties, and forties became such a lasting part of the fabric of American society. One reason was advances in technology. The invention of sound recordings made these songs accessible in every home. Radio, too, helped ensure these songs were readily available to the public. No longer did people have to attend live musical performances to experience music. Recordings allowed people to recreate the emotional connection to their favorite songs. When the Great Depression hit in 1929, music was one thing that helped to sustain hope in America. Many people lost everything – their job, home, and dignity – but their love of music could not be taken from them. These songs also
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