THE DEVELOPMENT OF AMERICAN POPULAR MUSIC BY RICHARD EUGENE KENT THESIS for the Degree of Bachelor of Music MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1921 V51A KAA UNIVERSITY OF ILLINOIS June .13.,. ...1921.... THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY RICHARD EUGE NE . . KENT ENTITLED . . THE . DEVELOPMENT- OF- AMERICAN - POPULAR- . MUSIC IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF... BACHELOR OF . MUSIC IN MUSIC 3 >12 Digitized by the Internet Archive in 2015 https://archive.org/details/developmentofameOOkent THE DEVELOPMENT OF AMERICAN POPULAR MUSIC The question of the present tendencies in the popular music of America is one well worth serious consideration since it influences the musical taste of such a vast number of people. Many reasons might be given for the ever-increasing vogue of popular music. Not the least of these is to be found in the presence of a piano or some other musical instrument in nearly every home. Such was not the case twenty- five years ago. The advent of the pianola and other mechanical players, together with the phonograph and gram- ophone, also have tended to create a demand for popular music. Again, the teaching of the rudiments of music in the public schools has served to bring the art more closely before the public, with the result that nearly every girl in the country, whose parents can afford it, is receiving music lessons as a part of her general edu- cation. In homes where very little music of any kind previously had been heard it is but natural that music of a popular style at first would be most acceptable, this serving to satisfy until the taste be elevated so as to desire something of a better nature. The appearance of singers of high rank in musical comedy and in vaudeville undoubtedly has become a factor in forwarding the cause of popular music. While the presence of such singers in the vaudeville ranks has been deplored, the fact that they have made their appearance there has to some extent raised the standard of popular music in this country, for the class of music which they have sung has been in advance of that generally produced. There is no question but that the purveyors of popular music have shown more - „ - . . , , , - . . , . - 2 - enterprise in the production of music that will please their patrons than have those who cater to a class with higher artistic perceptions. Of the quantities of popular songs published in the last thirty years but few have attained any lasting popularity. Songs of which hundreds of thousands of copies have been sold are now com- pletely forgotten. The reason for this is hard to ascertain. It is not because the later songs are of inferior merit, for a steady ad- vance has been made in all popular music. The public now readily accepts harmonies which but a few years ago would have been looked upon as too difficult and complicated. In the matter of text of our present day popular songs, however, the same advancement has not been made. There rarely is shown the same simplicity and wholesome senti- ment seen in our earlier songs, such as "Home Sweet Home” and M Cld Black Joe". Popular taste now looks for words touching on the events of the moment rather than those dealing with emotions and feeling which are common to all and which are always in evidence. The consideration of popular music naturally requires a review of negro minstrelsy because the minstrel show so long served as the medium by which such music was given to the public. In early times among the Europeans the folksongs and dance tunes were the music of the people. These old melodies handed down from generation to generation still form the nucleus of the popular music of Euro- pean countries. To them have been added from time to time songs written in a simple style and dance music, marches, and airs from the operas. Here in .America, where, on account of our youth as a nation we can have no true folksongs, we must of necessity begin to build on a different foundation. In a broad sense, popular music rnay be defined, as its - , 1 - , - 7 „ . , - 3 - name implies, as that of the populace — that is, of people who have made no special study of the art of music. It must he of a kind that can be easily learned and readily recalled. This music need not be trifling or trivial, but it must be simple. If it be a song the words must contain some sentiment common in appeal to all, a sentiment touching the home, love, joy or sorrow, or the theme may be some subject which at the time is agitating the public mind. The melody must be singable and the rhythm "catchy". If the composition be purely instrumental, such as a march or a waltz, the same musical characteristics must be in evidence. Popular music becomes such because it requires for its enjoyment neither special musical train- ing nor serious mental effort on the part of the listener. The dif- ference between popular and so-called classical music really rests with the hearer rather than the music itself, Por, speaking in gen- eral, classical music calls for those very elements in musical culture and mental effort for its appreciation which popular music does not require. After a hard day* s work in shop or factory, after strenuous hours in the commercial world or at the desk, physical and mental relaxation are absolutely necessary to the enjoyment of any enter- tainment, not excepting music -~ even by one who thoroughly appreciates $he art, Ho pleasure, either of a physical or mental nature, can be enjoyed where weary body and mind have to make effort for the occa- sion, Therefore the music of the people must be such that the hearer catches it almost unconsciously. The first genuinely American songs, both as to words and music, were a group, of which "Hail Columbia" is the only survivor. The author of the words, Joseph Hopkinson, was born in Philadelphia, ■ - - - - . , - ; - t - * « - 4 - Pennsylvania, November 12, 1770. He was educated at the University of Pennsylvania, and became a lawyer of distinction in his native city. He was a promoter of the cause of liberal education, and a man of kindly personal traits. He died in Philadelphia, January 15, 1842. M Hail Columbia" was written in the summer of 1798, when a war with Prance was thought to be inevitable, Congress then being in session in Philadelphia, deliberating upon that important subject, and acts of hostility having actually occurred. The contest between England and Prance was raging, and the people of the United States were divided into parties for one side or the other; some thinking that policy and duty required us to take part with Republican France, others were for our connecting ourselves with England, under the be- lief that she was the great preservative power of good principles and safe government. The violation of our rights by both belligerents was forcing us from the just and wise policy of President Washington, which was to do equal justice to both, to take part with neither, but to keep a strict and honest neutrality between them. The prospect of a rupture with Prance was exceedingly offensive to those who espoused her cause and the violence of party spirit was unusually high. A young singer, a very good friend of Hopkinson, was about to give a benefit concert at that time. He had twenty boxes in the theater untaken, and the prospects were that he should suffer a loss rather than receive a benefit. He told Hopkinson that if he could get a patriotic song adapted to the tune of "The President’s March", then the popular air, he did not doubt of a full house. Hopkinson told him that he would try it, and the next afternoon the song was ready. It became immensely popular immediate- ly; it was sung at night in the streets by large assemblies of ; . - . , . t • . . . • ' ■ - 5 - citizens, including members of Congress. Not an allusion was made in the song either to France or England, or the quarrel between them. The song found favor with both parties. It was truly Amer- ican, and the patriotic feelings of every American heart responded to it. The music of the song was written as a march, and went at first by the name of "General Washington's March”. Later it was called ”The President's March” and it was played in 1789, when Washington came to New York to be inaugurated. The Composer's name is a little uncertain, but Mr. Custis, the adopted son of Washington, mentions its having been composed in 1789 by a German by the name of Fayles, leader of the orchestra at the old John St. Theater in New York. The most successful song-writer, which America has yet produced was Stephen Foster. His songs have obtained a wider and more lasting popularity than those of any other writer in the same field. In their general appeal his songs most nearly approach the requirements of what popular song should be, and he justly has been called the American people's composer par excellence. As a boy, Foster had shown remarkable precocity in music and at seventeen he was the leader of a small club, which met at his house for the purpose of learning to sing in parts. When the club had exhausted the repertory of such songs as were in favor at the time, Stephen resolved to try the writing of songs himself. "Louisiana Bell" was the result of his first effort, and in a week "Old Uncle Ned ,J followed.. The style and text of these songs evi- dently was patterned after those used in the minstrel shows, which were so popular at the time. Some of his other songs were "Oh, * t , 1 • ■ - . , - - 6 - Susanna" , “Kelly was a lady", “Old Folks at Home", "Come Where My Love Lies Dreaming” , "Gentle Annie”, "Hard Times Come Again No More", "Massa* s in the Cold, Cold Ground", "My Old Kentucky Home", "Nelly Bly" , "Old Dog Tray" and "Old Black Joe". When in his twenty- second year Stephen Foster concluded that he was not adapted to a commercial life, and he now turned to music in earnest. He seemed unable to abandon altogether the negro dialect in the words of his songs, but they are characterized by a certain refinement in marked contrast to the grotesque and clownish effects produced by other writers in the same field, and there is an expression of tender sentiment pervading each song. Foster laid bare the heart-life of the negro, and ridicule found no place in his song texts. The name of George F. Root was for many years prominent in the field of popular song. Mr. Root was born in Sheffield, Massachu- setts, on August 13, 1820. While a child he was extremely fond of music and attempted to play every musical instrument that came with- in his reach. He went to Boston while still young and began the study of music in real earnest. Instruction was received in singing, piano, and organ with a flute as a recreation. After some years spent in study, Mr. Root became an organist and choir-master and for five years was one of Lowell Mason* s assistants in teaching music in the Boston public schools. In 1844 a position was offered him in New York, and here, for many years, he lived and worked. It was while in New York that he first gained fame as a writer of popular music. "Hazel Dell" was his first successful popular song. Others were "Rosalie, the Prairie Flower" and "The Vacant Chair". George F. Root was one of the first musicians in America to realize the opening in the field of popular music. In writing- ' , . , / , . - 7 - for the people he v/ould invariably consider the difficulty of the intervals and the intricacy of the accompaniments. That is v/hy there is always found such simplicity in all of his harmonies. He was a born composer of popular music and he reaped a well-deserved success. The degree of Doctor of Music was conferred upon him by Chicago University. He died in 1895. It has been customary to date the evolution of .America's popular music from the period of the Civil War and the decades that followed, but song-music by this time had already become familiar - * ' • .... . / • ; to the people by way of the minstrels, while banjo, violin, flute, melodion and piano had come into common use in the home. Few popular songs survive, however, beyond the particular* period for which they are written. Many of them are evanescent as thistle-down, wafted hither and yon by a gentle zephyr of sentiment, and then banished by the stronger under- current of popular opinion. As a rule, songs involving home-sentiments, domestic affections, emotions that play on the heartstrings of the people, are the songs which neither time nor constant repetition consign quickly to ob- livion. In periods of great political excitement this feeling re- solves itself into a fervor of patriotism, and the war song is the result ("The Battle Hymn of the Republic", "Battle Cry of Freedom", "Marching Through Georgia", etc.) This is the music of the people, for it becomes the popular music of the period and is invariably in the form of song. Then follows an aftermath, in which longings and yearnings for the home life are more deeply expressed, when the word "mother" becomes the dominant note, and her joy or sorrow, her sense of loss or bereavement, form the chord around which the song is built. . , , , . . - 8 - And yet certain of these songs of sentiment outlive those of more artistic composition simply because they touch the hearts of the people. Every word is understood because it has been written for them, and the music is usually simple enough that it can be readily grasped. America has produced much music of this kind, songs that will never die because they essentially vibrate in the home-life of the nation. Such a song is "Home Sweet Home", which for three- quarters of a century has held its popularity and promises to con- tinue to do so indefinitely. From minstrel performance to opera this charming song has held its own on the stage; from street singer to prima-donna the public has received it with applause; from farm- house to palace it has ingratiated its universal sentiment until it belongs to the vhole world. Yet it is a rather ironical fact that the writer of the words, John Howard Payne, was a wanderer throughout his life and died in a foreign land. Another composer of some of the best known of the popular songs was Henry Clay Work. He wrote the words and music to "Babylon is Fallen" , "Kingdom Coming", "Marching Through Georgia", "My Grandfather* s Clock" and many others. He was born in Middletown, Connecticut in 1832 and died in Hartford, Connecticut, June 8, 1884. The composers mentioned all belong to the early period of the development of popular music. In the evolution of popular song there has been a gradual change toward the more complicated harmonies and rhythms. In all of the popular songs of the early part of the present era there is to be noted a general similarity of construction and treatment. The melodies and harmonies are simple, but not to the extent of those of the earlier period. But our typical popular songs of the present day are far more complicated harmonically and rhythmi- , . - , ' . . ** - 9 - cally, if not melodically, than those of twenty years ago. Most of the songs of the closing years of the nineteenth century were songs of home, honor and pure love. Among them are "Sweet Marie", "Sweetest Story Ever Told", "Sunshine of Paradise Alley", "On the Banks of the Wabash", and "She Was Bred in Old Kentucky". There were also many "coon" songs of the period, the words of which were somewhat more refined than those of the present day "coon" songs. Such songs were "Little Alabama Coon", "Kentucky Babe", "Stay in Your Own Back Yard" , etc. Of the twentieth century song writers the names of M. K. Jerome, Jean Schwartz, Egbert Van Alstyne, Richard A. Whiting, Irving Berlin, George Mallen, Harry Von Tilzer and Aloert Von Tilzer are among the best known. In most of the popular songs of today the "chorus" (or refrain) is of most importance, for upon this part of the song usually rests its ultimate success or failure. The words of the "chorus" usually are applicable to every verse. In the descriptive song the writer aims to tell a complete story in as few words and as graphically as possible. The success of the comic or topical song rests on the "gag" introduced into each verse and made apparent in the first or last line of the "chorus". In the several classes or divisions of popular songs those of more serious character strive to make their appeal equally through both words and music, in the march song the music is of most account, while the comic song depends largely on the words. In light opera and musical comedy is seen the most elaboratu phase which popular music has assumed. Of late years the country has been deluged with musical plays until their effect has been felt I ' . , , . - , - 10 - on the legitimate drama. These productions are the natural sequence of the decadent minstrel show, and while they lack the dignity of the comic operas of the European peoples, the American public has wafted them into favor until they have become the most popular form of entertainment presented on the stage. Among all the American light operas, those of DeKoven and Herbert are intrinsically the best, for they are cleverly put togethe] and show musicianly treatment. America., however, has never produced a writer of librettos to equal W. S. Gilbert of Gilbert and Sullivan fame, and without the prerequisite of a good libretto no opera, no matter what its musical value, can attain to lasting popularity. Harry Bache Smith is the greatest American librettist, having written librettos for most of De Koven* s and Victor Herbert* s operas. The operas of Be Koven, of which there are fifteen, have achieved wide popularity. “Robin Hood" alone has been enacted more than three thousand times, while "The Fencing Master", "The Highwayman", "Foxy Quiller", "Red Feather", "Maid Marion", "The Little Duchess", "Rob Roy", and others have all had successful runs. Be Koven has also written many popular songs which have had large sales. Victor Herbert, who is probably the nearest competitor of Be Koven, is an American by adoption, having been born in Dublin, Ireland, February 1, 1859. He first came to the country in 1886 when he joined the Metropolitan Opera Company in Hew York. He 7 /as for several seasons first ’cellist of the Theodore Thomas Orchestra, later became conductor of the Pittsburg Symphony Orchestra, and then formed an orchestra of his own in Hew York. His operas and musical comedies, while possibly not of quite as high an order as those of De Koven, are extremely tuneful and pleasing and always show the , < ► , . , , ' X , , . , - I ' . - - 11 - touch of the musician, .Among the most popular are "The Wizard of the Nile", "The Serenade", "The Idol's Eye", "The Fortune Teller", "Babes in Toyland", "Babette", "It Happed in Nordland" , "The Red Mill", "Mile. Modiste", "Naughty Marietta" , "The Duchess", "Sweethearts", "Princess Pat" and "Eileen". Other important writers of musical comedy are Rudolf Friml , a Bohemian, composer of "The Firefly", "High Jinks", "Katinka" , "You're in Love", "Sometime", etc.; Jerome Kern, writer of "Oh, I Say", "The Girl from Utah", "Nobody Home", "Very Good Eddie", "Oh BoyJ", "Leave It to Jane", and others which have had considerable popularity; Louis A. Hirsch, writer of "He Came from Milwaukee", "Vera Violetta", "The Ziegfeld Follies of 1915", (same for 1916), "The Rainbow Girl", "Mary", and others. The outstanding characteristic of our modern musical com- edy is the almost complete absence of plot. So long as there are two or three acts of amusing dialogue, striking stage pictures, elaborate costumes, and taking music, nothing else is considered important. Almost any of the very recent productions would serve as examples of this type of musical play. Foremost among the successful writers of popular instrumen- tal music stands the name of John Philip Sousa, the "March King". It has been said that Sousa writes with the metronome at his elbow running at one hundred and twenty clicks to the minute. Sousa's marches are without doubt the most typical music which this country has yet produced, for they are deeply imbued with the American spirit Sousa, above all others, has caught the true martial swing; his music also has the stamp of his own distinct individuality and he has practically revolutionized march music. Some of his most sue- ' * r? r • - * - 12 - cessful marches are "Washington Post", "High School Cadets", "Man- hattan Beach", "Semper Fidelis", "The Thunderer", "Stars and Stripes Forever", "Hands Across the Sea", "El Capitan" , "King Cotton", "The Fairest of the Fair", etc. Sousa has also written a number of very successful light operas, such as "The Smugglers", "Desiree", "The Queen of Hearts", "El Capitan", "The Free Lance", "The Bride-Elect", etc. In comparing the early American popular music with that of the present day, it is interesting to hear the opinions of a few of the most prominent American musicians. George W. Chadwick, American composer and director of the Hew England Conservatory of Music says: "In my opinion, popular music has degenerated very mater- ially during the last generation; v;here we formerly had beautiful waltzes and quadrilles by Strauss and WaldteMfel, we now have the most barbarous sounds that can be produced by torturing an orchestral instrument. * * * "The modern developments in rhythm in popular music are largely confined to different forms of syncopation. These things originated in disreputable resorts of the southern states and the West Indies". John Philip Sousa, celebrated band conductor and composer says: "What ever is inspirational in today ! s music, be it sym- phony or jig, is equal to the inspiration, be it symphony or jig, of days that are gone. Out of the myriad compositions of the past, the number that live are infinitesimal, and so it will be with the com- positions of today. Inspiration creates longevity whatever the form of music. In the olden days, dancers had little or no regard - 13 - for the music they danced to and possibly the present generation of dancers are no more discerning. The past can show a great deal of very poor musical stuff in which the present equals it but the good, like the poor, we have with us always. The bad die young. * * * “The popularity of rhythms goes in cycles -- all rhythms belong to the odd or even division of measures. At present there is a tendency in so-called popular music toward the even rhythm. Strongly marked syncopation, while very old (having been used in all sorts of forms, even symphonic) does not belong to America any more so than to many other nations who have words in which the first syllable is very strongly accented, such words as mother, brother, liar” . Frank Damrosch, director of the Institute of Musical Art of Hew York, says in regard to "popular music" : "Such music of this kind which has come to my attention within recent years leads me to think that it has deteriorated greatly from that which was used in ray youth." So we see there is considerable disagreement concerning the present status of American popular songs. The attitude of Mr. Sousa is perhaps the most sensible one. It is no doubt true that there has been very bad music written in the past which has not lived and about which we know little. It is the good music of the past that we hear about. It is too often the tendency to compare the best music of the past with the worst of the present. If we take a few representative compositions of the early popular music and of the present period and analyze them we can find certain definite characteristics. - 14 - Stephen C. Foster’s very successful song "Massa’s in de Cold, Cold, Ground" is a typical example of the first period of writing. If we examine it, we find these characteristics: a very simple rhythm, employing half notes, quarters, dotted quarters and eighths; simple melodic structure, containing no awkward intervals; very simple harmonic structure, using only four chords,- tonic, dominant, sub-dominant and dominant seventh. There are no modula- tions or transitions, "Old Black Joe" is similar, although there is a momentary transition from D to B minor, the key of the sub- mediant, "Old Folks at Home" has a somewhat more varied harmonic structure, employing, in addition, diminished seventh chords, and transitions to the key of the dominant and sub-dominant. George F. Root’s "The Vacant Chair" has largely the same characteristics as some of Foster’s songs. It has a very simple, but pleasing, melody; it contains one modulation to the key of the dominant. It remains in this key for eight measures and then returns to the original key. There are no unusual harmonies, the only chords employed being tonic, sub-dominant, dominant and dominant-seventh. The rhythm is simple, three-four rhythm, employing half notes, dotted quarters, eighths, dotted eighths, and sixteenths. "Just Before the Battle, Mother" is perhaps more simple. It has a very similar harmonic structure, using the same chords and same transition (to the key of the dominant] The rhythm is four-four and has little variety. Some of the outstanding popular songs of recent years are: "Smiles", "America, I Love You", "Over There", "Goodbye, Broadway, Hello France", "There’s A Long, Long Trail", "Keep the Home Fires Burning", "Till we Meet Again". It is undoubtedly true that the songs which have had the widest popularity are the simpler ones. : - 15 - "Smiles", one of the most popular, has a very simple rhythm with little or no syncopation. It makes use of the tonic, dominant seventh, dominant ninth, and diminished seventh chords, and contains modulations or transitions to the keys of the sub-mediant, dominant and sub- dominant. "America, I Love You" is one of the many patriot- ic songs which were popular just before and during the war. It is in the nature of a 2/4 march and has a very stirring rhythm, making frequent use of the eight, quarter, and eighth succession of notes. It has the rather uncommon characteristic for a patriotic song of being written in the minor. It contains transitions to the keys of the major sub-dominant, dominant, and other momentary transitions. "Over There", by the well-known George M. Cohan is one of the sim- plest of popular songs, being built on the bugle tones (tones of the tonic triad), and was one of the most popular of its time. It con- tains simple momentary transitions to closely related keys and em- ploys, in addition to the most common chords, the augmented six- five chord. "Keep the Home Hires Burning", "There’s A Long, Long Trail", "Till We Meet Again", and "Let the Rest of the World Go By" are songs of a little different type, more on the ballad order. They are rather pleasing, musically, altho of very simple harmony and rhythm, and are very easy to sing; consequently they have had enor- mous sales. Earnest R. Ball, writer of the last song mentioned,has written the music for numerous popular ballads, such as "The Garden of My Heart", "Mother Machree" , "Till the Sands of the Desert Grow Cold", "Who Knows?", "A Little Bit of Heaven" and many others. Certainly our present day popular songs are equal to, musically, if not better than those of the nineteenth century. Pop- ular music writers are making efforts to get away from the extreme , , . , - * , . , ■ , - 16 - simplicity of our earlier music. This is perfectly natural and pro- per, considering that all other things are evolving in the some direction. Our popular music of today is transitional. It is to "be expected that there will be many mistakes and many poor attempts, before any very evident, permanent improvement is brought about. In the matter of words, however, our popular songs of the present have degenerated very noticeably. Too often a song with a catchy, interesting melody, is spoiled by having vulgar or suggestive words. Such songs as ”The Vamp”, H I’ll Say She Does”, ”0h, By Jingo!” and numerous others of that type, have done much to harm the cause of better popular music. But in judging popular songs, we should not let the quality of the lyric, or words, affect too seriously our est- imate of the music. Certainly there is some good in our present popular songs and they serve a purpose which music of a higher grade could not serve. It is as wrong to condemn all popular music as it is to condemn all literature which is written merely for enjoyment. In looking toward the future, the outlook for American popular music is rather bright. We may expect a revolution against the present tendencies of popular song lyrics. These characteristics are only temporary, just as some of the tendencies toward crudeness and vulgarity in modern vaudeville and musical comedy are temporary. The public will soon sicken of the slangy, suggestive type of song and as soon as popular taste is turned against it, its production will cease. Instead of shunning or ignoring all popular music, it is the duty of musicians and music-lovers to try to improve it. Even though we may have little taste for it ourselves, we should remember that there are thousands of people, who can appreciate no other type . - 17 - of music. It is only by using our popular music as a stepping stone that we can develop the taste of these people. Popular music is here to stay; that is certain. If we ignore it, it may degenerate; if we lend our efforts toward directing its development, supporting the good qualities and trying to eliminate the bad, we can do much toward improving it. Therefore it is our duty, not to be indifferent to- ward popular music, but to acquire an intimate knowledge of its characteristics, and to become awake to its possibilities. -n