Pub Date : 2021-06-28DOI: 10.14325/mississippi/9781496834294.003.0006
Michael G. Garber
This is the fourth of six chapters tracing how waltzes often became performed as duple-meter tunes, inflected with jazz style, via the collective innovation of the performance tradition. A concluding subsection explores the link between these songs and the lullaby, homecoming, and images of the torch and lovelight. Tennessee poet Beth Slater Whitson and Illinois composer Leo Friedman were cheated by Chicago publisher Will Rossiter; and therefore instead took “Let Me Call You Sweetheart” (1910) to Harold Rossiter, thus becoming part of a bitter brotherly feud. It sold six-million sheet music copies; endures as a singalong and Valentine’s Day favorite; became associated with the blues; and, analyzed here, is a pure love waltz sometimes converted into a swing tune by bands, crooners, and rock-and-rollers. Whitson’s fully personal lyric contributed to an increased intimacy in the genre. The discussion analyzes its use in movies, including Barney’s Big Adventure and The Rose.
这是六章中的第四章，追踪华尔兹是如何通过对表演传统的集体创新，以爵士乐风格的双拍子曲调进行演奏的。最后一节探讨了这些歌曲与摇篮曲、归乡、火炬和灯光的形象之间的联系。田纳西州诗人贝丝·斯莱特·惠特森和伊利诺斯州作曲家利奥·弗里德曼被芝加哥出版商威尔·罗西特欺骗;因此，他把1910年的《让我叫你甜心》(Let Me Call You sweetie)交给了哈罗德·罗西特(Harold Rossiter)，从而成为了兄弟之间激烈争执的一部分。它卖出了600万张乐谱;一直是情人节最受欢迎的歌曲;与蓝调联系在一起;而且，在这里分析的是，纯爱华尔兹有时被乐队、低吟歌手和摇滚乐手转换成摇摆曲调。惠特森完全个人化的抒情诗为这一流派增添了亲密感。讨论分析了它在电影中的应用，包括《巴尼的大冒险》和《玫瑰》。
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This is the second of six chapters tracing how waltzes often became performed as duple-meter tunes, inflected with jazz style, via the collective innovation of performance tradition. The operetta composer Victor Herbert, with lyricist Henry Blossom, wrote “Kiss Me Again” as the “sensuous waltz” to climax multiple refrains within “If I Were on the Stage” (from Mlle. Modiste, 1905). Herbert takes his initial motif from “Córdoba” (1898) by Isaac Albéniz—another example of collective innovation. The tune is a harbinger of many later arching melodies; and the lyric, of other, later, importunate romantic pleas. The song became widely popular once the publisher (another collaborative force) made its writers create a verse about lost love. The number is primarily done by operatic singers, but also by crooners, commented on here, including Frank Sinatra. The chapter analyzes the four uses of the song in the 1931 movie musical Kiss Me Again.
这是六章中的第二章，追踪华尔兹如何通过对表演传统的集体创新，经常被演奏成两拍子的曲调，与爵士风格发生变化。轻歌剧作曲家维克多·赫伯特(Victor Herbert)和作词人亨利·布洛森(Henry Blossom)将《再吻我一次》(Kiss Me Again)作为《如果我在舞台上》(出自《小姐》，1905)中高潮迭起的“感性华尔兹”。赫伯特最初的主题来自艾萨克·阿尔·阿尔·萨姆斯的“Córdoba”(1898)，这是集体创新的另一个例子。这首曲子是后来许多拱形旋律的先驱;还有抒情的，其他的，后来的，纠缠不清的浪漫恳求。在出版商(另一股合作力量)让其作者创作了一首关于失去的爱情的诗之后，这首歌变得广受欢迎。这首歌主要是由歌剧歌手演唱的，但也有低吟歌手演唱，包括弗兰克·辛纳屈。本章分析了这首歌在1931年电影音乐剧《再吻我一次》中的四种用法。
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{"title":"“THE SWEETHEART OF SIGMA CHI” AND THE POWER OF A SUBCULTURE","authors":"","doi":"10.2307/j.ctv1s5nx5h.13","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nx5h.13","url":null,"abstract":"","PeriodicalId":247541,"journal":{"name":"My Melancholy Baby","volume":"353 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116889177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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Pub Date : 2021-06-28DOI: 10.14325/mississippi/9781496834294.003.0011
Michael G. Garber
“You Made Me Love You” (1913) became indelibly associated with three performers. Clarified is its chronology in Al Jolson’s repertoire and his influence on how it was performed and printed. In 1937, it launched Judy Garland’s fame, with an introduction addressed to “Dear Mr. Gable” that made the song about the relationship of performer and audience. This manifests in its use in films (Love Me or Leave Me; Xanadu) and the work of performance artist David Hoyle. In 1941, it boosted trumpeter Harry James to stardom. Through reception studies, the song’s place in individual lives is explored, illuminating a novel by Joanna Goodman and autobiography of Shirley Cunningham. The work’s elements are analyzed, emphasizing their ambiguous depiction of mixed emotions, sexual desire, and humor. Fleshed out is the song’s place in the careers of composer Jimmy Monaco and lyricist Joseph McCarthy – and in the development of chansons-realiste and torch songs.
《你让我爱上你》(1913)与三位表演者不可磨灭地联系在一起。澄清的是它在Al Jolson的曲目中的年表，以及他对它如何表演和印刷的影响。1937年，这首歌为《亲爱的盖博先生》(Dear Mr. Gable)做了介绍，使朱迪·加兰(Judy Garland)声名鹊起，这首歌讲述了表演者和观众之间的关系。这体现在它在电影中的使用(爱我或离开我;世外桃源)和行为艺术家大卫·霍伊尔的作品。1941年，它使号手哈里·詹姆斯成为明星。通过接受研究，探索了这首歌在个人生活中的地位，为乔安娜·古德曼的小说和雪莉·坎宁安的自传提供了启发。分析了作品的元素，强调了对混合情感、性欲和幽默的模糊描述。这首歌在作曲家吉米·莫纳科和作词人约瑟夫·麦卡锡的职业生涯中，以及在现实主义香松和火炬歌曲发展中的地位，都得到了充实。
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This concludes the series of six chapters tracing how waltzes often became performed as duple-meter tunes, inflected with jazz style, via the collective innovation of performance tradition. Irving Berlin wrote “When I Lost You” (1912) after his first wife’s death, encouraged by his brother-in-law, E. Ray Goetz. This chapter clarifies the chronology of that year’s events and refutes claims about the song’s uniqueness in Berlin’s early career. The tune foreshadowed his famous series of 1920s waltzes starting with “What’ll I Do,” also written while vacationing with Goetz. These, with their intensified intimacy and ready adaptation to four-four jazzy treatment, in turn foreshadowed the famous later waltzes of Richard Rodgers and the modern jazz era. This discussion analyzes the song’s elements, the influences on Berlin, and how his waltz melodies often start with upward moving intervals. One, “Always” (1925) is analyzed as used in the film noir Christmas Holiday (1944).
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Pub Date : 2021-06-28DOI: 10.14325/mississippi/9781496834294.003.0007
Michael G. Garber
This chapter focuses on “Some of These Days” (1910), an American songwriting landmark. Its accepted origin story is refuted. In an example of collective innovation, performer-composer-lyricist Shelton Brooks (a Canadian Native American and African American) borrowed his initial motif and words from “Some o’ Dese Days” (1905), by Frank Williams.The lifelong theme of Sophie Tucker, the song is a jazz standard, notably revived by Bobby Darin. It contributed to the evolution of the genre by depicting internal conflict. Analysis of its elements reveals the piece’s complexity; this is also explored in a reception study. Print and performance tradition variants are detailed. Both in Jean-Paul Sartre’s novel Nausea and in movies (Rose-Marie; Only Angels Have Wings; All That Jazz; Beyond the Sea), it is imbued with symbolic importance, explored further in a conclusion drawing on poetry and philosophy.
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