This book offers a detailed biography of ten influential American popular love ballads, from “Bill Bailey, Won’t You Please Come Home” (1902) to “You Made Me Love You” (1913). These became models for over forty years of great songs. In an innovative combination, they fused jazziness with intimate, personal qualities that were further revealed in the late 1920s with the advent of the torch song genre—and microphone crooning techniques, which linked them to the lullaby. They were a product of collective innovation by both famous figures like Irving Berlin and forgotten songwriters, including women and those from minority groups. Further, the performers, arrangers, and publishers changed the original songs, in a process similar to the oral folk music tradition. All these songs were fit into narratives—movies, plays, histories, scholarly works, and literature—which continually redefined them. The book analyzes the songs and how they were interpreted, featuring full music scores, musical excerpts, and forty illustrations. This study strips away the myths behind the creation of these ten core songs, revealing the even more colorful true stories. The discussion proposes a fresh definition for the torch song, as one making the listener aware of the flame of love within their heart. It includes an introduction to the New York music publishing industry, Tin Pan Alley, and operates as a listening guide and viewing companion for the Great American Songbook. Through the stories of individual songs, this history supplies a panoramic collage of the golden age of American classic pop.
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This chapter introduces Tin Pan Alley, early twentieth-century popular music publishing. Its mature style paired witty, conversational but courtly lyrics with concise, dramatic melodies conducive to jazz performance. The standard refrain structure (ABAC) often had a rhythmic quickening and rhymed couplet near the end. The study’s corpus is eight songs, much performed yet little appreciated, analyzed, or researched. Innovation in the genre was communal. Song histories reveal many obscure people shaping each work’s elements, challenging the auteurist approach. Collective innovation factors include: generalized genres; specific cycles; and performance tradition, oral and aural. These ballads reveal the growth of the personal, intimate, and internal in jazzy songs. The discussion introduces, defines, and traces early history of two terms, the “torch song” and “crooning.” A sketch of related contemporary trends includes: the transformation of blue ballads into blues proper; spirituals popularized by soloists; cabarets and small theatres; psychoanalysis; and telephone, radio and the electronic microphone, relating to R. Murray Schafer’s concept of schizophonia. The “crooning” label highlights the connection of popular ballads and the lullaby, linking to psychology, particularly the work of Dr. John Diamond. Pivotal crooners include Tommy Lyman and Bing Crosby.
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Pub Date : 2021-06-28DOI: 10.14325/mississippi/9781496834294.003.0002
Michael G. Garber
This chapter presents a history, reception study, and analysis of “Bill Bailey, Won’t You Please Come Home?” (Hughie Cannon, 1902). The discussion establishes the relationship of this comic rhythm song to a long line of previous and later coon songs, proto-blues, love ballads, and torch songs. It details the “Bill Bailey” song cycle, initiated by the collective innovation of the creative circle surrounding Cannon. Details are presented of the song’s popularity, folk traditions, revival as the quintessential Las Vegas number, and incorporation (including as a lullaby) in movies and in literature by George Bernard Shaw, Edith Nesbit, and Edgardo Vega Yunqué. The cheerful melody and bemoaning lyrics are analyzed. The survey of performances encompasses renditions by Bobby Darin, Ella Fitzgerald, Della Reese, Nellie Lutcher, Nancy Wilson, Ann-Margret, Patsy Cline, and many others, revealing intriguing performance traditions, such as that one-seventh shift blame from the woman to the man.
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This is the third of six chapters tracing how waltzes often became performed as duple-meter tunes, inflected with jazz style, via the collective innovation of performance tradition. This chapter focuses on “I Wonder Who’s Kissing Her Now” (1909), written in Chicago by lyricists Will M. Hough and Frank R. Adams, and Harold Orlob—who composed the music, as a work-for-hire for composer-performer Joe E. Howard, and sued for credit decades later. The discussion details the song’s revivals in the swing and rock and roll eras. Analysis of the piece focuses on the emotions of the lyric and the fit between words and melody. Gender politics are explored; this distinctively male torch song became occasionally adapted by women. Its use in stage and movie musicals is analyzed in this light. The lyric helped innovate the pondering of a landscape of introspection, foreshadowing later lyrics wondering about the lost beloved’s fate.
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{"title":"“SOME OF THESE DAYS”","authors":"Shelton Brooks","doi":"10.2307/j.ctv1s5nx5h.12","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nx5h.12","url":null,"abstract":"","PeriodicalId":247541,"journal":{"name":"My Melancholy Baby","volume":"1 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":"130943326","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}
{"title":"“YOU MADE ME LOVE YOU”","authors":"Y. Me, Love You, J. McCarthy, James V. Monaco","doi":"10.1300/j116v07n03_46","DOIUrl":"https://doi.org/10.1300/j116v07n03_46","url":null,"abstract":"","PeriodicalId":247541,"journal":{"name":"My Melancholy Baby","volume":"467 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":"116392004","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}
Pub Date : 2021-06-28DOI: 10.14325/mississippi/9781496834294.003.0012
Michael G. Garber
Between 1902 and 1913, through collective innovation, thousands of crafters, operating across the nation, forged a mature American love ballad style—jazzy, personal, introspective, intimate—exemplified by this study’s ten focus songs. These songs were revived and spread internationally through new technologies: electronic microphone; radio; and movies with sound. The songs became permanently yoked to the microphone—so that they seem to have predicted its advent—as the modalities crystallized of torch song and crooning (with its link to the lullaby). This concluding chapter recruits the genre theories of Rick Altman to contextualize the discussions of torch singers by John Moore and Stacy Holman Jones. By contrast, it focuses on the many narrative contexts for torch songs themselves, suggesting a redefinition: a love ballad that makes the listener aware of the flame of love within their heart—an effect also dependent on the listener, performers, and context.
{"title":"Conclusion","authors":"Michael G. Garber","doi":"10.14325/mississippi/9781496834294.003.0012","DOIUrl":"https://doi.org/10.14325/mississippi/9781496834294.003.0012","url":null,"abstract":"Between 1902 and 1913, through collective innovation, thousands of crafters, operating across the nation, forged a mature American love ballad style—jazzy, personal, introspective, intimate—exemplified by this study’s ten focus songs. These songs were revived and spread internationally through new technologies: electronic microphone; radio; and movies with sound. The songs became permanently yoked to the microphone—so that they seem to have predicted its advent—as the modalities crystallized of torch song and crooning (with its link to the lullaby). This concluding chapter recruits the genre theories of Rick Altman to contextualize the discussions of torch singers by John Moore and Stacy Holman Jones. By contrast, it focuses on the many narrative contexts for torch songs themselves, suggesting a redefinition: a love ballad that makes the listener aware of the flame of love within their heart—an effect also dependent on the listener, performers, and context.","PeriodicalId":247541,"journal":{"name":"My Melancholy Baby","volume":"56 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":"126470993","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}
This is the first of six chapters tracing how waltzes often became performed as duple-meter tunes, inflected with jazz style, via the collective innovation of performance tradition. This chapter is an introduction to the Americanization of the waltz, listing both exuberant and wistful early examples. Also, the term importunate is defined in relation to the corpus. The discussion then focuses on “I’m Sorry I Made You Cry” (Nick J. Clesi, 1916), the earliest waltz with a well-documented career in both three-four and four-four meters, setting the model for waltzes becoming re-inscribed as fox trots. From New Orleans, recorded by early jazz bands, printed in a pioneering “jazz fox trot” edition, it also acted as an expression of masculinity. The music and lyric are analyzed for their dramatic effects, including in recordings by Frank Sinatra and many others. The lyric was foundational to a long line of later songs begging romantic reconciliation.
这是六章中的第一章，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。这一章是对华尔兹美国化的介绍，列出了华尔兹早期充满活力和渴望的例子。此外，术语importunate是根据语料库来定义的。然后讨论集中在“I 'm Sorry I Made You Cry”(Nick J. Clesi, 1916)上，这是最早的华尔兹舞曲，在3 - 4米和4 - 4米中都有很好的记录，为华尔兹舞曲重新被铭刻为狐狸小跑奠定了典范。这首歌来自新奥尔良，由早期的爵士乐队录制，印在开创性的“爵士狐步舞”版本中，也是一种男子气概的表达。分析音乐和歌词的戏剧性效果，包括在弗兰克·辛纳屈和许多其他人的录音。这首歌词是后来一长串乞求浪漫和解的歌曲的基础。
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