Codify and Innovate

Just as the gears of the second industrial revolution began to take root in American society, the early 1900s dawn with promise of commercialized music available to a larger audience than ever before. By this point the technological advancement of the gramophone and nickelodeon make the production of music available to a mass audience. As we press on into the roaring twenties technology will birth both electronic recording using a new invention called a microphone and the means to transport those sounds over the air via commercial radio stations. The foundation has been laid for the music industry to come of age and innovation will propel it into the lives and homes of America.

Castle House Rag, Music by James Reese Europe;
performed by James Reese Europe’s Society Orchestra (1914)

The first black group to sign a record deal is the James Reese Europe’s Society Orchestra in 1913. Castle House Rag is a lively orchestral version of a typical ragtime piece with several themes placed into a larger structure. The hook is the rhythmic interest on display throughout the piece along with each of the sections being repeated. New musical elements emerge such as a stoptime effect (where most instruments drop out for a second) and the use of a less lively section that allow the listener to take a break before the rambunctious ending. These pieces also served a transitioning society as people wanted to experience the new, upbeat, couples dances that were appearing.

My Blue Heaven, music by Walter Donaldson, lyrics by George Whiting (1924)
performed by Gene Austin (1927)

Upon its release, My Blue Heaven became the best selling album and was not surpassed until White Christmas was released 15 years later. By this time listeners had come to expect the AABA format as they listened to new songs. My Blue Heaven stays true to this popular Tin Pan Alley format throughout the main body of the piece. Also the typical introduction of the main musical theme is played in the introduction giving the listener an idea of what is to come. Along with the invention of the microphone and electric recording came a new style of singing called crooning. This intimate style can be heard in My Blue Heaven as Austin’s light and lilting voice has freedom to go beyond just the melody and lyric to a “la dee da” section. We also here the warbling whistle drawing the listener into the lyric, “As whippoorwill calls.” As society fell headlong into the great depression, it is easy to understand how this lilting song affirming a simple happy life came to be so popular.

April Showers, music by Louis Silvers, lyrics by Buddy DeSylva (1921)
Performed by Al Jolson (1921 & 1932)

Al Jolson made his mark early, performing in minstrel and vaudeville shows. A product of an earlier age, Jolson’s voice, unlike the crooners of the era, is strong throughout both performances even in the tender moments. April Showers stays true to form in the refrains with the slightest variation. Instead of AABA the melody pattern, ABA’C. Here again in the first performances we hear the orchestra introduce the hook during the introduction. Whether do to its previous popularity or a growing musical sophistication, the second performance utilizes music that evokes a feeling of anticipation without utilizing the melodic hook of the piece. Similarly, during the repeat of the refrain in the second piece, Jolson alternates between singing and speaking the lyrics propelling the lyric with greater emphasis. Like My Blue Heaven, April Showers provides the needed encouragement for society during the great depression.

I Got Rhythm, music by George Gershwin, lyrics by Ira Gershwin (1930)
Performed by Ethel Merman (1947)

Ethel Merman’s full speed ahead style is perfectly suited for the upbeat Tin Pan Alley song. Both the refrains and the verse of I Got Rhythm fall into the typical form, AABA’ and AA’BB’. It also begins with a verse that has little memorable effect except to set-up the refrain. George Gershwin was incredibly successful at marrying classical techniques with popular music. These techniques are heard in this piece as all but one of the lines of the refrain begins with the same rhythm. Merman holds the word “I” on the repeat of the refrain until the final hook, “Who could ask for anything more?” The affect is that the hook is lodged into the musical memory of the listener. Another significant stylistic difference is that the verse is set apart from the refrain being slower and rhythmically simple. It sets the stage perfectly for the upbeat answer to the question presented in the verse, “How did I get to be that way? (chipper all the day).” Again we see the delight in the everyday aspects of life. As things got difficult, society needed the encouragement and reminder that there was so much to be happy about.

The first thirty years of the twentieth century were a time of settling into musical pattern and innovating technologically and musically. During this time composer rights and just compensation were established, and the music scene set up shop in the lower Manhattan. As culture moved from prohibition into the great depression, music became an encouraging spark that people could rally around for warmth. The music business had been established as an important part of people’s lives. From Tin Pan Alley we move toward greater musical and rhythmic innovation and exploration in the era of swing.