American Popular Music 5th Edition Pdf Free __FULL_

Hello, i'm a freshman taking MUSI 102 (Popular music in america) as arts are part of my core classes and don't really want to buy the book and all the PDF sites I saw seemed like scams after redirecting me to several other sites.

First Published in 2002. A Century of American Popular Music is an annotated index to over 2,000 of the most popular, best remembered, historically important and otherwise influential and interesting popular music, from the landmark publication of Scott Joplin's Maple Leaf Rag to the latest rap hit. It provides information all in one place that is available no where else: song title, composer, lyricist, publisher, date of copyright and genre. The annotations include, where possible, a discussion of the history of the song, how it was written, who popularized it, notable recordings with their original issue numbers, as well as covers and other versions that helped keep the song in public attention. Also included are indices by composer, publisher and year of publication.

American Popular Music 5th Edition Pdf Free Download

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American popular music has had a profound effect on music across the world. The country has seen the rise of popular styles that have had a significant influence on global culture, including ragtime, blues, jazz, swing, rock, bluegrass, country, R&B, doo wop, gospel, soul, funk, punk, disco, house, techno, salsa, grunge and hip hop. In addition, the American music industry is quite diverse, supporting a number of regional styles such as zydeco, klezmer and slack-key.

Distinctive styles of American popular music emerged early in the 19th century, and in the 20th century the American music industry developed a series of new forms of music, using elements of blues and other genres These popular styles included country, R&B, jazz and rock. The 1960s and 1970s saw a number of important changes in American popular music, including the development of a number of new styles, such as heavy metal, punk, soul, and hip hop. Though these styles were not in the sense of mainstream, they were commercially recorded and therefore are examples of popular music as opposed to folk or classical music.

Nineteenth century popular music mostly descended from earlier musical traditions such as theatre music, band music, dance music, and church music.[1] The earliest songs that could be considered American popular music, as opposed to the popular music of a particular region or ethnicity, were sentimental parlor songs by Stephen Foster and his peers, and songs meant for use in minstrel shows, theatrical productions that featured singing, dancing and comic performances. Minstrel shows generally used African instruments and dance, and featured performers with their faces blackened, a technique called blackface.[1] By the middle of the 19th century, touring companies had taken this music not only to every part of the United States, but also to the UK, Western Europe, and even to Africa and Asia. Minstrel shows were generally advertised as though the music of the shows was in an African American style, though this was often not true.[2] According to the historian of music, Larry Birnbaum, the music in minstrel shows was of mainly European origin, and was based on English, Irish, and Scottish folk music.[3] Similarly the author Richard Carlin states that while minstrel shows used the banjo, an instrument of African origin, and popularized black culture, minstrel music was largely an amalgamation of European dance tunes.[4] Andrew Stott states that many of the songs that initiated the "craze for blackface" were of European origin.[5]

The first popular music published for private consumption in America came from Ireland in 1808 with Thomas Moore's Irish Melodies, a multi-volume book of mainly Irish folk songs arranged for private performances.[6] Inspired by Moore, John Hill Hewitt became the first American songwriter to compose a style of popular music for private consumption, with his most famous piece "The Minstrels Return from War" becoming an international success.[6][7] Black people had taken part in American popular culture prior to the Civil War era, at least dating back to the African Grove Theatre in New York in the 1820s and the publication of the first music by a black composer, Francis Johnson, in 1818. Centered in Philadelphia, Johnson also led one of the first professional bands in American history from the 1820s to 1840s.[8] However, these important milestones still occurred entirely within the conventions of European music. Notable popular music in the 1830s and 1840s included publications by Henry Russell and the Hutchinson Family.[9]

The first extremely popular minstrel song was "Jump Jim Crow" by Thomas "Daddy" Rice, which was first performed in 1832 and was a sensation in London when Rice performed it there in 1836. Rice used a dance that he copied from a stable boy with a tune adopted from an Irish jig. Popular white performers of minstrel music included George Washington Dixon and Joel Sweeney whose tunes followed Scottish and Irish melodies.[10] The African elements included the use of the banjo, believed to derive from West African string instruments, and accented and additive rhythms.[2] Beginning in 1843 the Virginia Minstrels became the first group to popularize the minstrel show format, and by 1850 minstrel shows had spread across the entire United States.[10]

The minstrel show marked the beginning of a long tradition of African American music being appropriated for popular audiences, and was the first distinctly American form of music to find international acclaim, in the mid-19th century. As Donald Clarke has noted, minstrel shows contained "essentially black music, while the most successful acts were white, so that songs and dances of black origin were imitated by white performers and then taken up by black performers, who thus to some extent ended up imitating themselves". Clarke attributes the use of blackface to a desire for white Americans to glorify the brutal existence of both free and slave blacks by depicting them as happy and carefree individuals, best suited to plantation life and the performance of simple, joyous songs that easily appealed to white audiences.[5] It was only during the Civil War that white audiences first began to be exposed to genuine African American music, first with the slave spirituals Go Down, Moses in 1861 and then through spiritual performances by the a capella group, the Fisk Jubilee Singers in 1871.[3] After the Civil War minstrel shows performed by actual black troupes spread through the country and black composers such as James A. Bland had national success in the 1870s with songs such as Carry Me Back to Old Virginny and Oh, Dem Golden Slippers.[3][10] The post-Civil War period also saw the peak in popularity of professional band music, led by directors such as Patrick Gilmore and John Philip Sousa.[8] Sousa, known for his composition of military marches, achieved great fame in the United States and Europe with the United States Marine Band.[8]

Blackface minstrel shows remained popular throughout the last part of the 19th century, only gradually dying out near the beginning of the 20th century. During that time, a form of lavish and elaborate theater called the extravaganza arose, beginning with Charles M. Barras' The Black Crook.[6] Extravaganzas were criticized by the newspapers and churches of the day because the shows were considered sexually titillating, with women singing bawdy songs dressed in nearly transparent clothing. David Ewen described this as the beginning of the "long and active careers in sex exploitation" of American musical theater and popular song.[7] Later, extravaganzas took elements of burlesque performances, which were satiric and parodic productions that were very popular at the end of the 19th century.[8]

Like the extravaganza and the burlesque, the variety show was a comic and ribald production, popular from the middle to the end of the 19th century, at which time it had evolved into vaudeville. This form was innovated by producers like Tony Pastor who tried to encourage women and children to attend his shows; they were hesitant because the theater had long been the domain of a rough and disorderly crowd.[9] By the early 20th century, vaudeville was a respected entertainment for women and children, and songwriters like Gus Edwards wrote songs that were popular across the country.[10] The most popular vaudeville shows were, like the Ziegfeld Follies, a series of songs and skits that had a profound effect on the subsequent development of Broadway musical theater and the songs of Tin Pan Alley.[12]

In addition to the popular, mainstream ballads and other clean-cut songs, some Tin Pan Alley publishers focused on rough and risqu. Coon songs were another important part of Tin Pan Alley, derived from the watered-down songs of the minstrel show with the "verve and electricity" brought by the "assimilation of the ragtime rhythm".[13] The first popular coon songs were "The Dandy Coon's Parade" by Joseph P. Skelly in 1880 and "New Coon in Town", introduced in 1883 by J.S. Putnam, and these were followed by a wave of coon shouters like Ernest Hogan and May Irwin.[3][14] Famous black composers of coon songs included Bert Williams and George W. Johnson.[3] Additionally the first time the word "rag" appears in sheet music is in reference to the instrumental accompaniment in Ernest Hogan's 1896 song "All Coons Look Alike to Me", showing a connection between the two genres.[3]

The early 20th century also saw the growth of Broadway, a group of theaters specializing in musicals. Broadway became one of the preeminent locations for musical theater in the world, and produced a body of songs that led Donald Clarke to call the era, the golden age of songwriting. The need to adapt enjoyable songs to the constraints of a theater and a plot enabled and encouraged growth in songwriting and the rise of composers like George Gershwin, Vincent Youmans, Irving Berlin and Jerome Kern.[15] These songwriters wrote songs that have remained popular and are today known as the Great American Songbook.[14] 17dc91bb1f