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Greoge NY Culter
RENDS IN MUSIC AND CULTURE IN NEW YORK (1900’s-1910’s)
| Question | Answer |
|---|---|
| Giants of industry and finance (J. P. Morgan, Andrew Carnegie, Henry Clay Frick, John D Rockefeller) establish libraries, museums, concert halls, and universities in their names. | Cultural Institutions |
| Earliest form of definitively American music theater which included song, dance, comedy skits, variety acts, and short plays. Despite the tradition of blackface and the distorted or condescending views of southern African American life on which minstr | Minstrelsy |
| A dance-type from the minstrel shows that became an international sensation, and helped to spread and promote the ragtime style. | The Cakewalk |
| Originating in the cities of the Mississippi River valley, through composers such as Scott Joplin, ragtime came to New York via vaudeville and minstrel shows in the 1880’s. The ragtime craze, embraced by the young, also influenced composers of concert | Ragtime in New York |
| Dances that emerged in tandem with ragtime were the “animal dances” which purported to imitate the movements of animals, such as the Grizzly Bear, Bunny Hug, Turkey Trot, Kangaroo Hop, Duck Wattle, and Fox-Trot. Dances from south of the border also be | Rag and “Animal” Dances |
| Rag songs, often sharing little with official piano ragtime beyond some syncopation, dominated the Tin Pan Alley lists in the early 1900’s. Irving Berlin was the most prominent figure of the rag song era | Rag Songs |
| Ragtime also created a sensation in Europe in the early part of the century, where composers such as Debussy, Rubens, Satie, and Stravinsky adapted the sounds of ragtime to their individual styles, which in turn created a cross-current among American | Ragtime in Europe |
| With the rise of affordable upright pianos in middle and working class homes, publishing companies found a new bonanza in the sheet music business, and a new market for simple arrangements of popular songs was exploited by a new breed of music publish | Tin Pan Alley T. B. Harms, Witmark & Sons, Harry von Tilzer, Jerome Remick, Charles K. Harris (his “After the Ball” was the first Tin Pan Alley hit. |
| Due to the many ethnic minorities who came to the U. S. in the early 1900’s, the popular songs and music theater shows began to reflect this diversity. In addition, American song writers imitated the cultural elements of certain groups, including Asia | Ethnic Songs |
| The theater scene in 1900 included opera, English operetta, and music theater, mostly for the upper classes; vaudeville, burlesque, and minstrel shows for the working class | Music Theater ca. 1900 |
| While minstrel shows were still popular, a new family style of variety entertainment devised by impresario Tony Pastor, vaudeville, became prominent. For a more adult kind of theater, burlesque provided risqué humor and eventually, striptease among ot | Vaudeville and Burlesque |
| A new kind of Broadway variety show that featured lavish productions and chorus girl routines. Florenz Ziegfeld set the standard with his annual Follies beginning in 1907 | The Revue |
| Although European operetta continued to dominate the New York stage, new works on American themes by American composers began to turn the tide in the 1900’s | Operetta and Music Theater |
| Performances of classical music at the Metropolitan Opera and New York Philharmonic began to rival those of Europe. | Concert Music and Opera (concert, opera premieres) |
| The Harlem stride pianists. Unlike ragtime, jazz and blues, an east coast phenomenon. Classically trained, with roots in ragtime and Southern church styles. Influenced Gershwin’s piano style. | James P. Johnson, Eubie Blake, Jelly Roll Morton, Luckey Roberts, Willie “the Lion” Smith |
| The Novelty pianists. Stayed somewhat closer to ragtime than the Harlem pianists, though they developed special techniques of their own. Introduced ragtime to NYC vaudeville stages. Influenced Gershwin’s piano style. | Zez Confrey, Felix Arndt, Les Copeland, Mike Bernard, Ohman and Arden |
| Automatic piano in which the mechanism was triggered by air pushed through holes in a paper roll. Popular during the first quarter of the century, eventually losing out to analog recordings. Gershwin recorded many piano rolls. | Piano Rolls, Player-Pianos |
| Urban blues, based on the folk-blues of the Mississippi delta but with a more sophisticated harmonic style written for dance bands as in the work of W. C. Handy, | The Blues arrive in NYC |
| From its origins in New Orleans and later, Chicago, jazz began to be heard in New York in the early 1910’s, but did not become popular until the latter part of the decade, with performances by the Creole and Original Dixieland Jazz Bands. (Gershwin wa | Jazz arrives in NYC |
Created by:
MaxJurisic