De-Canonizing Music History

Transcription

1 De-Canonizing Music Histoy

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3 De-Canonizing Music Histoy Edited by Vesa Kukela and Laui Väkevä

4 De-Canonizing Music Histoy, Edited by Vesa Kukela and Laui Väkevä This book fist published 2009 Cambidge Scholas Publishing 12 Back Chapman Steet, Newcastle upon Tyne, NE6 2XX, UK Bitish Libay Cataloguing in Publication Data A catalogue ecod fo this book is available fom the Bitish Libay Copyight 2009 by Vesa Kukela and Laui Väkevä and contibutos All ights fo this book eseved. No pat of this book may be epoduced, stoed in a etieval system, o tansmitted, in any fom o by any means, electonic, mechanical, photocopying, ecoding o othewise, without the pio pemission of the copyight owne. ISBN (10): , ISBN (13):

5 TABLE OF CONTENTS Intoduction... vii Pat I: Re-locating At and Popula in Music Chapte One... 3 The Popula Music Revolution in the Nineteenth Centuy: A Thid Type of Music Aises Deek B. Scott Chapte Two Stepping Down fom the Pedestal: Anold Schoenbeg and Popula Music Alexande Capente Chapte Thee A New Maste Naative of Westen Musical Histoy: An Ameican Pespective Chistophe Wilkinson Pat II: Re-eading the azz Canon Chapte Fou Defy(n)ing Categoization: Moving Beyond the azz Histoy Canon Sonya Lawson Chapte Five Remaking azz Histoy Pekka Gonow Chapte Six Lots O Papa: Nat Towles and His Dance Ochesta Kevin Fulleton

6 vi Table of Contents Chapte Seven No One Had Eve Head a Guita Played Like That Befoe: The Redefinition of the azz Aesthetic in the Wok of Post 1970 s Electic Guitaist Composes Paul Ca Pat III: Re-visioning Rock Discouses Chapte Eight Full-gown fom the Head of upite? Lay Discouses and Italian Pogessive Rock Chis Andeton Chapte Nine Beatles Fo Sale: Beatle Stoytelling and Naative as Industialised Histoy Holly Tessle Chapte Ten Comeback: Reunions of Music Goups as a Memoy Industy anne Mäkelä Pat IV: Re-eading Histoy in Music Education Chapte Eleven Ethnomusicology, Feminism, Music Education: Telling Untold Tales Robeta Lamb Chapte Twelve Rethinking the Histoiogaphy of Hybid Genes in Music Education David G. Hebet Contibutos Index

7 INTRODUCTION The subject of canonisation ose in the musicological agenda in the 1980s, togethe with a stong need to edefine the limits of the discipline. One of the most influential addesses in this discussion was deliveed in the ealy 1990s, when a goup of musicologists fom the United States published an anthology entitled Disciplining Music: Musicology and its Canons (Begeon and Bohlman 1992). In that book s epilogue, Philip V. Bohlman anticipated a new ea fo eseach in the field: the pespective of musicology was to shift fom the model of studying Die Musik to many musics, and the citical gaze of the discipline was to focus on a vaiety of musical canons, including thei mutual competition and inteplay. But what is canonisation? The title of Begeon s and Bohlman s anthology eveals one possible eading. Wheneve music is examined unde a citical gaze, it is disciplined, odeed, and coected; the canon functions as a basic tool in defining the scope of this disciplining. On one hand, the canon detemines what music is wothy of study. On the othe hand, it opeates as a measue of the competence of the scholas. The canonised music is discussed and agued ove; in this pocess, altenative conceptions of music may become seconday and maginal. It may even become the expet heself who is maginalized unless she is stong enough to build a new canon. In fact, this is exactly what took place in musicology when new, o citical musicology began to shake the system in the 1980s, edefining music as an object of scholaly study, with numeous new canons emeging. Today it would be had to deny the pogess that has been attained by the new scholaship on music. Many kinds of music ae now studied fom multiple pespectives, using a vaiety of methodological appoaches that wee only emeging by the time of Disciplining Music s publication. One indication of this manifold is the vaiety of pespectives in this collection. Based on a selection of papes ead at the fist De-Canonizing Music Histoy Symposium, its vaious appoaches stongly suggest a citical view on canonisation in music histoy. 1 In ou book the inclusion of aticles dealing with popula music is paticulaly notable. This is a tend that appeas to be woldwide. In some counties (such as Finland), popula music has in fact passed classical and folk music in ecent decades as the most studied gene in musicology. One

8 viii Intoduction could ague that issues of canonisation ae especially elevant in popula music studies because of both its multipespectival natue and the indefiniteness of its object of study. In his intoduction to a ecent special issue of Popula Music, Motti Regev (2006, 2) even suggested that canonisation, togethe with wide themes of cultual capital and atistic hieachy, should be a majo topic in popula music studies. At the time of ou witing, thee is a clea lack of studies in this topic aea. One exception is Cays Wyn ones The Rock Canon (2008). In he book, ones makes a pofound analysis of the canonical values in the eception of ten classical ock albums. She eveals multiple ways in which the eception of famous ock albums eflects the values, tems and mechanisms found in the eception of the canons of liteatue and classical music. Howeve, ones also agues that canonisation is a multidimensional pocess: thee ae inheent tensions involved that impede the fomation and stability of a canon. The values typical of the canons of classical music, such as oiginality, seiousness, complexity, and the necessity of eeading, ae complemented by the values moe contingent to the eception of ock music albums, including ebellion, sonic oiginality, authenticity of pefomance and contempoay elevance (ones 2008, ). This suggests that canonisation assumes new foms by adapting to divese value bases, constantly offeing new mateial fo the citical obseve. Reading though the chaptes of this book, it is easy to notice how diffeent musics have aleady fomed thei own canons. The main goal of editing this collection was to deconstuct these new canons: to descibe, analyse and poblematise them in thei vaiety. While at it, we cetainly cannot avoid constucting new ones. We accept that canonising belongs inheently to all scholaly (and without doubt, atistic) effots. It is in an exploatoy spiit that the following pages set out to pave new ways fo discussion, athe than to define what and how music could be taken to mean in diffeent histoical fames of efeence. While musical pactices may be global, thee is a wealth of possible vocabulaies and categoizations though which they can be ationalised, and these concepts ae dependent on the histoical and cultual exigencies of the ationalises. It is a thin line between academic scholaship and education, and the canons function hee, as well. It is by no means insignificant how music is defined in the cuicula of the schools and music institutions, o what issues ae taken to be impotant in the teaching of the histoy of each musical gene. Keeping its eye on cultual hegemony and its ideological consequences in music education, citique of canonisation may aise

9 De-Canonizing Music Histoy ix impotant and fascinating questions, which have thei special place in the thematic stuctue of this book. Even if we would agee that all eseach and atistic pactice of music seeks the conditions of canonisation, and this cannot be avoided, why should we cae? One answe might be that examined consciously and citically, canons can be beneficial, fo they may help us to gasp how music and music eseach ae histoically constucted and fomulated. Theefoe one of the challenges of this book is to use de-canonisation as a methodological tool on e-evaluation of histoy and histoiogaphy of music. Deconstuction of canons involves a possibility to fame new study objects, as well as a chance to e-intepet pevious disciplinay tuths. Thee is no geneal consensus among music eseaches on the usefulness o hamfulness of canonisation. Some scholas ae moe sensitive to finding new solutions to thei poblems outside the fixed boundaies; othes feel moe comfotable with the study objects that the discipline has focused on fo geneations. What suits the goundbeakes of the citical paadigm might not suit thei colleagues who specialize in the minute examination of histoical souce mateials. The latte may wok citically within the bounds of a given canon, seeking new tools fo new intepetations of the music canonised. A vaiety of appoaches ae thus needed to undestand the dynamics of histoical intepetation of diffeent musical cultues. This is the eason why we did not want to compel any contibutos of this anthology to beak the canons: all wee fee to addess any kind of poblems within the disciplines of music histoy (including histoy of music education), with whateve appoach they judged to be the best within the lage thematic umbella of de-canonisation. Despite (o athe because) of this feedom, we feel that the contibutos have found new and fesh pespectives that deseve to be widely ead and discussed. The book is divided into fou pats. The fist pat focuses on locating (o athe on elocating) the elationship between at music and popula music in light of altenative histoical pespectives. Deek Scott s aticle elocates the evolution of popula music to the nineteenth centuy, poclaiming that this, lagely stylistic, evolution was diven by the incopoation of music into a system of capitalist entepise. Fom this evolution, new at wolds wee ceated, which meant among othe things that popula music could establish its own canon as a thid type of music. Scott calls fo systematic eseach on this phenomena: he encouages musicologists to take up studying it in tems of a stylistic evolution, demonstating how and why it challenged existing pactices, detailing its apid ciculation as a commodity fom, and showing how it established its own aesthetic conventions.

10 x Intoduction Alexande Capente s essay elaboates the pictue of Anold Schoenbeg s elation to popula music. Beginning fom the question of whee popula music fits in discussion about this ach-modenist, Capente eminds us that the canon of modenism has many faces: while Schonbeg cetainly can be taken as an intoveted modenist, his highbow comments on popula music should be consideed in pope context. Capente agues that Schoenbeg s position on popula music was not unequivocal: despite being known fo his scon of popula idiom, he also sought and hoped fo populaity, occasionally wote in popula genes and styles, and admied some popula composes. Thus, instead of continuing to view Schoenbeg as a paagon of seious, moden music, Capente encouages us to let him to step down fom his pedestal and to ecognize in his music and thought some meaningful intesections between the seious and popula. The fist pat ends with Chistophe Wilkinson s citique of the maste naatives appoach commonly used in undegaduate music histoy couses in the United States. Instead of continuing the Euocentic canon defined in most study pogams by Gout s seminal A Histoy of Westen Music, Wilkinson suggests a wide pespective that helps the students to undestand the complex ealities of twenty-fist-centuy Ameican musical cultue. Especially impotant would be to acknowledge the accultuation between the Euopean and West Afican taditions: accoding to Wilkinson, Westen at music should be consideed as coequal in impotance with taditions emanating fom West Afica because those ae equally cental to the chaacte of Ameican music today. To follow this lead would demand a adical e-examination of the leaning outcomes of music histoy couses and the pedagogy by which to encouage students mastey of them. The second pat of this book is dedicated to new eadings of the canons of jazz histoy. Sonya Lawson s aticle shaes Wilkinson s inteest both in the pedagogical pespective and Afican-Ameican music. Howeve, Lawson focuses specifically on the canons of jazz pedagogy as eflected in jazz histoy textbooks. Finding that many of these books ae stuctued aound genes and pomote a jazz canon that is mostly populated by Afican-Ameican men, she suggests a desciptive, athe than pesciptive, eading that could infom students of the enomous vaiety of music contained unde the umbella tem jazz a tem that simultaneously defies categoization and defines it. This kind of eading would teach the students how cultual concepts such as mainsteam and maginal ae constucted. In this way, jazz histoy could become a gateway to teaching

11 De-Canonizing Music Histoy xi students moe sophisticated concepts about categoization, the canon, cultual context and how to discuss music. Pekka Gonow s aticle focuses on e-categoisation of the jazz canon by concentating on a specific histoical phenomenon often neglected in histoiogaphies. While the evivalist movement of New Oleans jazz has often been labelled as tuning back the clock, Gonow is inteested in its motivations, the souces of its epetoie, as well as its conceptions of jazz histoy. Noting paallels with othe evivalist movements, Gonow suggests that many New Oleans jazz evivalists wee motivated by thei fist expeiences of heaing jazz fom the ecods. Gonow suggests that this was the fist time when a significant numbe of Euopean and Ameican intellectuals became convinced that the oots of a new musical at could be discoveed in Afica. The evivalist movement thus paved the way fo a multi-cultual view of music, which would have been quite unthinkable befoe the Second Wold Wa. The thid aticle of the second pat appoaches the subject of jazz canonisation though a case study. Kevin Fulleton descibes the significance of one swing ea teitoy band that has lagely escaped the notions of jazz histoiogaphes. Fulleton agues that exploing these bands in detail helps gain a bette idea of how the moden big band developed, and how the musicians at the time made caees out of pefoming. He futhe suggests that in ode to build an undestanding of how jazz musicians achieved populaity... and how the style of jazz spead thoughout the United States we need to ovedub histoy and to look at a boad spectum of atists. Paul Ca s aticle shifts the focus to moe contempoay phases of jazz histoy. He addesses the often undeated ole jazz guitaist composes have played in edefining the jazz aesthetic, specifically though fusing jazz with othe music foms. Conceiving fusion jazz moe as an expession of cultual and social paadigms than an ovet attempt to fuse the two styles, Ca agues that the dual tadition, commecial populaity, and peceived authenticity of guitaists such as [Lay] Coyell and in paticula [ohn] McLaughlin, had a consideable impact on edefining the jazz gene in the 1970s and beyond. The eclectic fusion epesented by Coyell and McLaughlin did not just consist of expeiments in style, but assisted the ceation of new stylistic ules fo the jazz canon, which only a few yeas late would become fomulaic and aligned to maket equiements. The thid pat of ou book is dedicated to altenative visions of canonisation in ock histoy. Chis Andeton launches this section with a econsideation of the histoiogaphy of pogessive ock. He picks up as

12 xii Intoduction his examples Italian pogessive ock and its lay discouses, which suggest that the local scene deived fom the expeimentation of peexisting Italian beat bands and musicians, and with the suppot of ecod labels, festivals, and magazines. Like othe Euopean vaieties, Italian pogessive ock eflects a wide vaiety of influences. Andeton agues that pogessive ock can be taken as a pan-euopean athe than meely as a Bitish music fom, and moe as a fame of mind athe than as a clealy defined sub-style. Holly Tessle s aticle contests anothe coe case of Bitish ock music histoiogaphy. Accoding to he, the tadition of Beatle stoytelling offes an inteesting case of egulaised discouse. Revealing the stoy of the Beatles as both pocess and a poduct, Tessle agues that stoytelling, while clealy a naativised, histoicised pocess is also a maketised pocess, and both aspects should be taken as equal functions in ou undestanding of popula music as a constuction of popula cultue. In the aticle that ends the thid pat, anne Mäkelä examines the dynamic elationship between musical-histoical now and then in contempoay cultual industy. Appoaching the cultual industy as a memoy industy, Mäkelä agues that this industy celebates the past in ways that cay significant cultual, economic and symbolic values that have not been ecognised in popula music histoiogaphy. His two examples illuminate the continuity of the memoy industy, as well as its inne dialectics. The fist aspect is evealed in the estoative nostalgia of the Dallapé eunion in the 1950s, while the second is eflected in the two comebacks of Huiganes in the 1980s and 1990s, culminating in the elease of the featue film Ganes in Accoding to Mäkelä, the latte can be taken to exemplify eflective longing as an altenative stategy fo memoy industy that uses the collective celebation of the mythical past as its asset. Howeve, this kind of celebation of pop histoy also eflects the changing undestanding of just what cultue is. Though it, popula music can be seen as an exciting cultual location whee songs and pefomes constuct ideas about national identity and cultual inteaction, looking fo the past fo cultual contovesies that used to be diving foces especially fo ock music and its ebellious ethos. The final pat of ou book picks up the theme of music histoy and music education, anticipated ealie in Wilkinson s and Lawson s texts. Howeve, the two aticles pinted hee appoach the subject moe fom the geneal music education standpoint, epesenting two appoaches to the histoical self-identification of the discipline. Robeta Lamb s aticle taces the inne dynamics of Noth Ameican music education efom, evealing how gende plays a ole in the stoies

13 De-Canonizing Music Histoy xiii we tell about music education scholaship and what we value in music education. Following the bith of MENC (Music Educatos National Confeence), and especially focusing on Ruth Cawfod Seege s seminal ole in the fomulation of its ealy agenda, and futhe moving to the changes in the policy of this oganization and one of its citical altenatives, MayDay Goup, Lamb agues that we should become conscious of the impotance of self-eflective pocess and self-citical pactice in poviding histoical accounts of the field. David Hebet s aticle continues the citical self-examination of music education histoy by aguing that the wok of mainsteam educational leades and institutions has typically taken cente stage in official histoies of the field. Music education histoy has thus neglected examination of multicultual identities, social inequalities, and the expeiences of common music leanes among newly emegent genes outside fomal educational contexts. Accoding to Hebet, eseach on the systems of powe and ideology associated with institutionalisation is aely encounteed in histoical accounts of music education. Because the histoiogaphy of the field lacks naative depth, both the ways that we go about doing histoical eseach in music education, and the ways that we explain histoy to ou students, may equie substantial and immediate change. Descibing cases of hybid music ensembles as exemplay sites of musical innovation and potential wellspings of new musical taditions, Hebet agues that the developments associated with the emegence and institutionalization of hybid music genes meit inclusion in the histoiogaphy of music education. Refeences Begeon, K. and P. V. Bohlman Disciplining Music: Musicology and Its Canons. Chicago, Ill.: Univesity of Chicago Pess. ones, C. W The Rock Canon: Canonical Values in the Reception of Rock Albums. Aldeshot: Ashgate. Regev, M Intoduction. Popula Music 25 (1): 1 2. Notes 1 The symposium was oganized at Sibelius Academy, Helsinki, Finland, in coopeation between the depatments of Music Education, Folk Music and azz Music, duing Novembe 29 Decembe 1, 2007.

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15 PART I RE-LOCATING ART AND POPULAR IN MUSIC

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17 CHAPTER ONE THE POPULAR MUSIC REVOLUTION IN THE NINETEENTH CENTURY: A THIRD TYPE OF MUSIC ARISES DEREK B. SCOTT Thee may be eades who wonde what I mean by speaking of a popula music evolution in the nineteenth centuy, athe than in the twentieth centuy. I hope I will be able to demonstate that such a tem is not inappopiate, and also to make clea that I am efeing to a evolution in musical style as well as gene. This evolution was diven by social changes and the incopoation of music into a system of capitalist entepise: it esulted in a polaization between the style of entetainment music (o commecial music) and that of seious at. In this bief oveview, I am going to select those key genes and styles that pecipitated musical change at that time, and which continued to impact upon popula music in the next centuy. Indeed, one might ague that these changes meant that popula music became a diffeent musical language, and one that came to be spoken in diffeent dialects and with diffeent accents. New at wolds wee ceated, with the establishment of new musical conventions, new techniques, new oganizations, and new netwoks of distibution. This musical evolution in the nineteenth centuy meant that an undestanding of the new popula music could not be expected of all musicians. One consequence was that the seamless incopoation of popula styles, as found in a wok like Die Zaubeflöte, was no longe a possibility. Nobody in the twentieth centuy would expect someone who could play Rodigo s Guita Conceto to be equally adept at playing a 12- ba blues. In the nineteenth centuy, nobody would expect an opea singe to pefom convincingly a chanson éaliste, o assume that a musician skilled in the classical symphonic epetoie would automatically be capable of giving a chaacteistic lilt to a Viennese waltz. The popula music evolution bought foth musical idioms whose diffeence in both

18 4 Chapte One style and meaning fom the classical epetoie ceated insupeable poblems fo those who wee unfamilia with the new conventions and lacked the paticula skills demanded by the new styles. The legacy is with us still. As I walked into the Volksope in Vienna in Septembe 2006, the ushe saw that, behind my ticket fo Die Zigeunebaon, was anothe fo Lohengin at the Staatsope. He expessed supise and declaed that they wee two diffeent wolds. Indeed, a case could be made that they ae two diffeent at wolds in Howad Becke s sense, though they ovelap, as at wolds fequently do. Yet, I did not have to wait long to discove what it was that made opea and opeetta distinct aesthetically. Almost immediately upon the opening of Act 1, Bainkay sings an iesistible, swinging waltz tune with a hythmic zest that makes it almost impossible to keep the body still. Then I noticed the costumes; they wee gaish and theatical, some containing delibeate clashes of colou. Soon, Zsupán the swinehed made his entance accompanied by ten women dessed as little pigs, all weaing glitteing tutus. Duing the couse of Zsupán s song, they linked thei ams and danced in a paody of Swan Lake. Afte this, I began to notice the unusual ange of physical activity taking place acobatics and juggling, fo example but that was not the most significant featue. What I witnessed was that up-to-date movements associated with the most ecent pop and dance pefomes wee pefectly acceptable. It was also pemissible to alte the oiginal lyics in ode to incopoate topical allusions. All this told me two things: (1) delibeate vulgaity was elished as a means giving high cultue a slap in the face; and (2) the popula evolution in the nineteenth centuy tuned out to be a pemanent evolution. Popula cultue of the past enjoys a living elationship with popula cultue of today: it etains, and continues to each out to etain, an enthusiastic audience. It was in the nineteenth centuy that the tem popula in the moden Anglo-Ameican sense aose and, most impotantly, was used to designate a thid type of music poduction. The consequence was that musical cultues in the West developed sepaate categoies fo classical (o seious) music, folk (o taditional) music, and popula (o entetainment) music. Although I would hold that the social-histoical conditions in which a new atistic fom develops should be egaded as of pimay impotance, I would also, if asked to name a compose cucial to the ceation of a distinctive popula style, unhesitatingly pay tibute to ohann Stauss S. ( ). He established a new uban style of popula music that caved a middle way between the polished divetimento and seenata styles and taditional ustic styles. His music succeeded intenationally because it was not music that equied a localized envionment o soil to flouish.

19 Popula Music Revolution in the 19 th Centuy 5 This was ecognized by a eviewe at the pemièe of his opus 109 waltzes (1839), who commented: Seine neuen Walze, betitelt Exotische Pflanzen sind auf jeden Fall peenniend, und weden auch jeden Theilen Euopas, wohin sie vepflanzt weden, denselben Duft vebeiten, den sie hie entwickelten. 1 [His new waltzes, entitled Exotic Plants, ae all peennials, and will spead the same sweetness as they do hee in evey pat of Euope whee they ae tansplanted.] Most accounts of the populaity of the dance music of nineteenthcentuy Vienna tend to concentate on the social histoy of the peiod, but it is impotant, also, to analyze the musical featues that constituted the new popula style. My contention is that popula efeed, fo the fist time, not only to the music s eception, but also to the pesence of specific featues of style. In Vienna the tems entetainment music (Untehaltungsmusik) and light music (leichte Musik) wee soon coined to act as desciptos of this paticula musical chaacte. This new categoization of music poduction was inexticably linked to the industial poduction of sheet music and the gowth of the music entetainment business; yet, significantly, it meant that it became possible fo a composition to be popula in style without necessaily being popula in tems of commecial success. Thus, the shift in meaning of popula povided citics with a means of condemning music that boe the signs of the popula which they egaded as fashionable and facile (leicht in Geman means easy ), athe than pogessive and seious whethe o not such music enjoyed success in the maket place. It was the nineteenth-centuy popula music evolution that coloued Adono s views: Fom the middle of the nineteenth centuy on, good music has enounced commecialism altogethe. 2 Thus, it became an incontovetible tuth fo modenists like Piee Boulez that music witten in a popula style was tantamount to music witten fo sale (the ceation of objects of musical consumption ) and, consequently, it was anathema to the twentieth-centuy compose of seious music. 3 As a epesentative example of the diffeence between popula style in the old sense of its being something of the people and in the new sense of its being popula with the people, we might look at a tune fom scene 4 of acques Offenbach s ealy opéette-bouffe, Le Financie et le Savetie (1856). The efain of the song entitled Fable is designed by both lyicist Hecto Cémieux and the compose to be both simple and iitatingly memoable (Ex. 1-1). Howeve, the simplicity it possesses is not that of a

20 6 Chapte One ustic song o dance. Its wods and its music have been caefully polished by pofessionals. Its vey tiviality is caefully designed to be a souce of fun. The style is what one might call sophisticatedly tite: the falling chomatic semitones and the play on wods in the given example demonstate this. The cobble of this fable woks in a basement; hence, the epetitions of cave (basement o cella) appea to make sense, and so we feel ticked and amused when we finally hea the wod as the fist pat of qu avez vous [what s up with you?]. Ex Fable, cave efain & bb b b 4 2. n b Les voi - sins lui di -saient tous, Ca - ve, ca - ve, ca - ve, ca - ve, & bb b b. n b ca - ve, ca - ve, ca - ve, ca - ve, Les voi - sins lui di - saient tous & bb b b Ca - ve, ca - ve, ca - ve, ca - ve, qu'a - vez - vous! In bief, my agument is that the new foms of musical entetainment in London, Pais, New Yok, and Vienna changed peceptions completely about the natue of popula music and its peceived value. When Mozat wote in a popula o folk-like style, it did not contadict the aesthetic values of his othe music. Afte the popula music evolution, musical styles had aisen in commecial uban envionments that could not be accommodated satisfactoily within the newly fashionable ideas about the existence of a tadition of music of the folk. When composes wote in these popula commecial styles they often opposed and offended the values of those who defended high at o folk taditions. Yet, it was no mee gimmicky o pevesity that pompted the development of new musical styles and genes, and the legacy of what happened in these nineteenth-centuy metopolises shaped twentieth-centuy foms of popula music in Euope and Noth Ameica in impotant ways.

21 Popula Music Revolution in the 19 th Centuy 7 Vienna I will now look at the new popula foms and biefly (and fa too simply) explain the legacy of the stylistic evolution. 4 Music fo social dancing in Vienna, fom the late 1820s on, povided infectious hythms, novel ochestal timbes, and a new coloistic use of hamony (chods that took on a fee-floating majo sixth o majo seventh); it also employed new melodic devices (yodel-like phases, and leading-notes that fell instead of ising). It was in Vienna that what became known as light music was ceated, and the old contedanses wee gadually ousted by dances fo couples (the waltz and polka). Heinich acob, in his biogaphy of ohann Stauss S., declaed, till then no music had such demotic stength. 5 It was the public dance halls, not pivate balls (Redoutes), that detemined the pevailing chaacte of Viennese dance music in the 1830s. The popula dances wee those that wee popula with the bougeoisie: the waltz, the polka (fom Bohemia), which eplaced the galop in populaity afte 1840, and the quadille (fom Fance). ohann Stauss S. and osef Lanne wee each giving musical entetainments thee evenings a week in the 1830s, thei waltz nights poving the most successful and thus stimulating the futhe poduction of waltzes. Stauss and Lanne had achieved fame not only because thei music was thilling to dance to, but because they wee also exciting to watch as violinists, with thei doublestopping, wide leaps, potamento, and vaiety of bowing effects, such as spiccato, in which the bow bounces on the sting. The idiomatic violin style is etained in waltz melodies by ohann Stauss.: conside the typical violin gace notes in the fist theme of The Blue Danube. The popula style developed othe novel musical featues. Hubet Pay cites as a conspicuous featue of second-ate music, poviding examples fom low-class tunes (notice how the two ae conflated), an insistence on the independence of the leading note fom the note to which it has been supposed to lead. 6 The falling leading note in a subdominant context (the wieneische note) is a featue of Viennese waltzes. The tendency fo the leading note to fall was because the sixth degee of the scale had attained a new impotance in this music. Waltz 3b of Stauss S. s Spels Fest-Walze, op. 30 (1829) is a vey ealy example of the compose s teatment of the sixth as an addition to the tonic chod in a way that scacely demands esolution (Ex. 1-2). The emphasis on the sixth had clealy caught the ea of Wagne when witing fo his Rhinemaidens. 7 The tonic tiad with added majo seventh also begins to be accepted without

22 8 Chapte One the need fo esolution: conside the efain of Adele s laughing song fom Die Fledemaus at the wods ich die Sache, ha ha ha (Ex. 1-3). Ex Spels Fest-Walze ## & #?## # p Œ # > n > Ex Adele s laughing song # & Adele 3 8 R j R R R * R?# 3 8 a seh komisch j ha, ha, ha, j ist die Sache, - ha, ha, ha, d'um vezeih'n Sie, ha, ha, ha, It is the accent on beat one that is cucial to the waltz, though thee is often an accent on beat thee also. The Ländle has a chaacteistic accent on beat two. The diffeence between Ländle and waltz can be head in Stauss s Fohsinn im Gebige, op. 26 (1829). The fist waltz is a Ländle, the second is a waltz. Notice the chaacteistic melodic phase endings on the second beat of the Ländle followed by a one-in-the-ba feel fo the waltz (Ex. 1-4).

23 Popula Music Revolution in the 19 th Centuy 9 Ex Fohsinn im Gebige. No. 1 # # & # 4 3 p? # # # 4 3 Œ Œ Œ Œ Œ # # & # # No dolce? # # # # Œ Waltz theme 6b (7b in the piano vesion) of the Täubeln-Walze, op. 1 (1827) shows Stauss s inventiveness egading syncopation is with him fom the beginning (Ex. 1-5). The shot syncopated note as notated hee might suggest an anticipation of the second beat of the measue that was to become one of the most ecognizable featues of Viennese waltz style, the Viennese lilt (the slight anticipation of the fist pah of the oom-pahpah ). Stauss s hythmic inventiveness is evident in his use of coss hythms, too, such as those that occu in the fist waltz of Künstle-Ball- Tänze, op. 94 (Ex. 1-6a and 1-6b). Ex Täubeln-Walze &? ## ## 3 4 ## ## 4 3 p Œ

24 10 Chapte One Ex. 1-6a. Künstle-Ball-Tänze & # # # 4 3 p? # # # 4 3 Ex. 1-6b. Künstle-Ball-Tänze Œ 2 Œ 3 Œ 1 Œ 2 j (clainet) Œ Memoable hythmic motives fequently take pecedence ove melodic development, nowhee moe so than in the fist waltz of Canivals-Spende, which is something between a yodel and a donkey s bay. When examining Viennese waltz style, howeve, we should not neglect the impotance of non-notated pefomance pactices such as the anticipated second beat, the use of acceleando, stongly maked itadandi, and so foth. They all equie musical feel, just as do late featues of popula music pefomance, such as swing and goove. New Yok In New Yok, blackface minstelsy in the 1840s and 1850s povided popula music with a pecussive chaacte, a new type of syncopation, and a thee-chod model featues inheited by a ange of 20th-centuy styles

25 Popula Music Revolution in the 19 th Centuy 11 fom blues to punk. Euopeans fist acquied knowledge of the musicmaking of Afican Ameicans though the distoting medium of blackface minstelsy. In Gemany, fo example, some minstel songs wee published as genuine Nego ais. Minstel toupes in the ealy peiod wee seldom moe than six stong. Following the example established by E. P. Chisty, they sat in a semi-cicle, and the chaactes at each end wee named Tambo and Bones afte the instuments they played (a tambouine, and castanets made fom cow ibs). 8 Known as the cone men, they wee the comedians, and wee questioned to humoous effect by the intelocuto, M. ohnson, who occupied the middle of the stage. The enomous coss-class populaity of the songs of Stephen Foste ( ) effectively ceated a national music fo Ameica. 9 His fist big success, Oh! Susanna was fist published unde his own name in New Yok in The gene funished an oppotunity fo black composes, and the fist commecially successful black songwite was ames Bland ( ), who woked fo Havely s minstels and whose songs included Cay Me Back to Old Viginny (1878) 10 and Oh, Dem Golden Slippes! (1879) 11 Stauss S. was fond of syncopation, especially in his polkas and galops but the syncopated note is usually accented in the nomal Euopean manne of this peiod, unlike the novel kind of syncopation intoduced in blackface minstelsy. Note, fo example, how in the minstel song Buffalo Gals the accent is on the wod come, athe than the wod out (which falls on the syncopated note) (Ex. 1-7). Ex Buffalo Gals &b4 2 Allegetto j Buf - fa - lo gals, can't you come out to - night? can't you &b j come out to - night? can't you come out to-night? j Many of the ealy songs ae dominated by epeated motives. An example is Old Dan Tucke. Call and esponse, which has become almost a defining a featue of black music making, is found in songs like Stephen Foste s De Camptown Races and Dan Emmett s Dixie s

26 12 Chapte One Land. Thee is also, fom time to time, the pesence of what today would be called blue notes, such as the flattened sevenths found in the Ethiopian Seenades song My Old Aunt Sally. It might even be agued that the Viginia Minstels set the patten fo the pop band containing fou young men, which e-emeged in the late 1950s and ealy 60s. Once again, the young men wee white and leaning heavily on the pactices of black musicians. Rock n oll is not a million miles fom minstelsy, as a quick compaison of Old Dan Tucke and ailhouse Rock makes clea. In Ex. 1-8, the latte has been given in 2/4 time in ode that the two may be moe easily compaed. Ex Dan Tucke + ailhouse Rock compaison & b b & b 4 2 j 4 2 b I come to town de j The.. b n j udde - night, I.. hea de noise den saw de b b n wadenthew - a paty - in the County jail, The pi-sonbandwas theeandthey be - gan to wail, j fight,de b The & b b & b b watch - man was a unnin' oun',cyin' Old Dan Tuc - ke's b n b n band was jumpin' and the joint be - gan to swing. You should -'ve head those knocked out jail - bids sing. Let's come to j town,so b j & b b & b get out de way!. j b Get out de way!. b Rock! Let's Rock! Ev -'y - & b b & b Get out de way! b Old Dan Tucke, - You'e too late to come to suppe. -. b n bo - dy in the whole cell block Was a - dan-cin' to the jailhouse - Rock! j

27 Popula Music Revolution in the 19 th Centuy 13 London Afte mid-centuy, music hall in London became the diving foce behind new and expanding netwoks of stage manages, lighting expets, venue manages, poste designes, and othe elated activity. While highe atistic foms wee at this time becoming moe and moe objects of aesthetic contemplation, popula foms with a community base such as music hall possessed in its ealy days wee moe likely to offe paticipation. This is evident, fo example, in the music hall song s chous, which demands that the audience all join in fo it to yield its full effect. Music hall entetainment in the 1860s poduced songs with a hook o catchy chous coupled to a less-memoable, naative-diven vese section. These wee featues inheited by Tin Pan Alley, twentieth-centuy dance bands, and Boadway musicals. Songwiting fo the halls became pofessionalized, too, and composes and lyicists would be familia with diffeent types of chaacte song (the swell song, the coste song, the ustic song) and the skills of paticula pefomes. The sta system was ceated, too, at fist with the male stas of the halls, who wee often pomoted as the lions comiques. The type of vaiety entetainment povided by music hall in the late centuy influenced Ameican vaudeville and was also taken ove by the Fench, who even adopted the tem music hall. The saucy song with a sexual theme was pat of music hall fom its beginnings. The difficulty fo those who moally disappoved was that suggestiveness was something awkwad to pinpoint o pove. Take a song witten, composed, and sung by the lion comique Athu Lloyd, a song whose title is still a well-known saying in Bitain today, It s Naughty but It s Nice (1873). 12 I kiss d he two times on the cheek, I would have kiss d he thice, But I whispe d, ain t it naughty? She said, Yes, but it s so nice. The wods ae innocent enough, but the implication that naughtiness is nice bings with it moal concens. This type of comic song was found abhoent by the espectable middle class: Destitute alike of wit and humou, even of the weakest desciption, and set to music of the most contemptible chaacte. 13 Censoship was a blunt weapon when deployed against some pefomes. Thee is no doubt, fo example, that it was the way the peeminent female sta Maie Lloyd pefomed that had such an impact on he audience the lack of bodily discipline seen in the gestues, winks,

28 14 Chapte One and knowing smiles that she employed to lend suggestiveness to appaently innocent music hall songs, like What s That Fo, Eh? (1892). 14 acqueline Batton daws a distinction between the innuendo of the boadside ballad and that of the music hall song: Whee a boadside ballad making use of innuendo would most usually labou one point at length, winging evey last paticle of fun out of a coespondence which had been set up o a tain of puns which had been laid, music-hall songs of a vey odinay kind often had highly inticate and vaied pattens of innuendo playing backwads and fowads acoss the text, even in pinted vesions, which would be supplemented a hundedfold by nuance and gestue in a good pefomance. 15 One may imagine how Lloyd s famous wink may have been applied to he singing of A Little of What You Fancy Does You Good 16 and When I Take My Moning Pomenade. 17 In the latte, she acknowledges that he dess shows he shape just a little bit, but that s the little bit the boys admie. This song is typical of music hall in its naative veses and sing-along efain (Ex. 1-9). Ex When I Take My Moning Pomenade Tempo di Polka Mach q = 120 & 4 2 (end of vese 3) R & & Each yea ou cos - tume # R R R j j j j gows moe bief, I won-de whenwe'll get back to the good old-fash-ionedleaf? R R R j Chous R When I take my moning - pomenade - - Quite a fashion - cad, on the pomen-ade. Thee may be little that is found supising in this account of the knowingness of music hall pefomes, which so often ceated what Pete Bailey tems a potent sense of collusion between themselves and thei audiences. 18 We may automatically contast this behaviou with a supposedly tight-laced and epessed bougeoisie, but pehaps that is an

29 Popula Music Revolution in the 19 th Centuy 15 assumption asking to be challenged. Edwad Pigott, Examine of Stage Plays fo the Lod Chambelain, infoms the Select Committee on Theates and Places of Entetainment in 1892, geneally, it is towads the West End of the town, and amongst iche, idle, and moe fashionable audiences that a famished manage would pefe to seek in scandal and indecency the means of eplenishing an exhausted teasuy. 19 In the mid-1880s, howeve, the compose Fedeick Code chooses to put the blame fo the vulgaity of music hall on those whom he egads as a dim-witted, undisciminating cowd: I was only too clealy convinced that this was the musical food which ou masses tuly loved and enjoyed, not because they could get no bette, but because it was most suited to thei intelligence to thei minds, in fact, if I may ventue to use such an expession. 20 Pais Cabaet of the 1880s in Pais pesented songs with had-hitting and socially concened texts, pecusos of late potest songs in a mixtue of folk and popula style (fo example, those of Bob Dylan) and vaious late foms of ealist song (fo instance, acques Bel s Amstedam, o Radiohead s Ceep ). The Montmate cabaets fosteed a unique atmosphee of elitism mixed with ebellion, in which social satie was nutued and bougeois values wee idiculed. A chanteu was someone who simply sang songs; a chansonnie, on the othe hand, was a singe-poet though this did not necessaily entail composing the music. The fist and most impotant of the cabaets atistiques was the Chat Noi, which opened in The chansonnie Aistide Buant ( ) made his eputation thee, and his image is still well known, thanks to the poste at of Heni Toulouse- Lautec. His impact on popula music, especially his development of the gene of the chanson éaliste (influenced by eading Zola) has eceived much less attention. 21 Buant's method of distancing himself fom emotional involvement had a lasting effect in cabaet. Buant sang of the dispossessed and disaffected, building a celebated epetoie of songs of the baièes: A la Villette, A Genelle, A la Chapelle, A la Bastille, and othes. The oiginal baies wee taxation points fo those enteing the city with goods; the faubougs (sububs) wee home to the Paisian woking class. Buant, himself, was of povincial middle-class oigin and knew nothing of the faubougs befoe the age of

30 16 Chapte One 17. In fact, he confesses that he was at fist shocked by the slang he head thee, but was soon attacted to its oiginality, its liveliness, butality and cynicism. 22 To choose a typical example of Buant s output, A la Villette (1885) has a tite tune and banal hythm that, along with Buant s unflinching, deadpan delivey, 23 act as a pefect match fo the monotonous and impoveished existence of its anti-heo Toto Laipette, and incease the sense of butality as the song ends with his neck held eady fo the guillotine (Ex. 1-10). Thee is no ovet indignation, though it is implied, and thee is no judgmental attitude. This is confimed by Buant s own two ecoded pefomances. Unlike Maie Lloyd songs, with thei tuneful sing-along chouses, this chanson does not offe any lengthy epeated efain; nothing holds up the naative; theefoe, its damatic chaacte is intensified. Ex A la Villette 6Andantino & bb 8. Il a - vait pas en-co' vingt ans, I' con-nais - sait pas ses pa- &b b. Œ ents, Œ On l'ap-p'lait To - to La - i - pette, A la Vil - let -.. U te. A quality that makes the cabaet chansons diffeent fom those of the café-concet is thei ability to tun at any moment fom boad and inoffensive lyics to the hashest social ealism, as Bessièe exemplifies in Les Mophinomanes, pehaps the fist song about dug addiction: A la mophine chaque jou, Elles se piqu nt avec amou Chacqu pati du cops tou à tou, En vicieuses coutisanes. 24 [Evey day they pick lovingly with mophine each pat of the body in tun, like lecheous coutesans.] The new type of atistic cabaet that aose in Montmate engaged with the contadictions and complexities of modenity, and spead quickly thoughout Euope in the ealy twentieth centuy (to the Quate Gats,