Most of what we call Christmas carols are actually Christmas hymns. “In dulci jubilo” is a true carol, that is, a medieval dance tune.
Carol texts could be either sacred or secular. Sacred texts usually concerned major feast days, including the birth of Jesus, thus the association of carols with Christmas music.
Folk instruments, including drums and other percussion, frequently accompanied carols and other dances.
The use of dance rhythms, instruments, and non-Latin texts made carols like “In dulci jubilo” unsuitable for use in Roman Catholic church services.
But the Medieval world knew no separation between religious and secular life. Civic ceremonies and private entertainment at all levels of society made frequent reference to religious imagery.
English-language hymnals often pair the tune with a free translation by John Mason Neale, “Good Christian Men, rejoice.” Continue reading
The season of autumn has inspired some of America’s best popular songs.
New York has inspired more songs than any other American city. Inevitably, someone wrote a song called Autumn in New York.
That it became a standard, recorded by dozens of the giants of American popular music was not inevitable. Continue reading
New media and services like YouTube and Spotify are shaking up the music industry. But they have no more impact than the phonograph record player did just over a hundred years ago.
Not very long ago, if anyone wanted to experience music, they had to go to a concert or make it themselves.
Many towns and smaller cities had no local professional concert organizations. Their citizens could attend a concert only if traveling performers chose to stop there.
On the other hand, nearly every middle class household had a piano. Many people sang and played other instruments. Even small towns had bands, perhaps attached to a local militia unit.
Then came the phonograph record player. Continue reading
Lovers of Irving Berlin’s music know that he wrote double songs.
Two characters on stage sing different songs in succession. Then they sing them together in counterpoint.
Most may not be aware that Berlin published 15 of them between 1914 and 1966. Continue reading
Except that the music of Rossini and others was considered popular music when it was first heard. And people who liked classical music scorned it. One French writer divided musicians into two kinds: classicists and Rossinists.
So what else that we think of as classical music used to be considered popular? And what changed? Continue reading
I came across the name “Don Drummond” on the Trombone Forum in connection with something called “ska.”
I mentioned Drummond and ska trombone in A History of the Trombone, but didn’t investigate. Then I thought of him when trying to decide what to write about here and listened to some videos.
Wow! Continue reading
What’s the popular music industry? For that matter, what’s popular music?
Most people today seem to equate “music industry” with “recording industry,” but it’s older than that.
There’s no point in talking about a “classical music industry.”I looked that term up and only found articles about how badly classical music leaders conduct business.
Merriam-Webster offers several definitions of “industry.” Only three seem applicable:
- systematic labor especially for some useful purpose or the creation of something of value
- a department or branch of a craft, art, business, or manufacture; especially: one that employs a large personnel and capital especially in manufacturing
- a distinct group of productive or profit-making enterprises
An industry, in other words, seeks to create something of value, is capital and labor intensive, and intends to make a profit. Popular music is inherently commercial and industrial. The popular music industry began in the late 18th century. Continue reading
They raised marketing and commercialism to unprecedented sophistication.
The popular music industry traces its history back to 18th century London. Thomas Arne and other composers wrote songs specifically for a mass audience. No one had cared so much about an unsophisticaled audience before. Continue reading
The 4th of July celebration doesn’t have anything to do with the War of 1812, either. So why does the 1812 Overture so often accompany the 4th of July fireworks display?
Not many worthwhile pieces include cannon fire, which makes such an excellent companion to fireworks. Music history is littered with justly forgotten battle music. Such pieces are difficult to write effectively. Even Beethoven’s Wellington’s Victory did not succeed as well as the 1812 Overture.
It had to jump through one more hoop before it could fit with Independence Day. American popular culture had to wrest the piece from its original association. Continue reading
I wondered if it is strictly a local program, or something larger. Yes, sort of, to both questions.
The Greensboro Symphony Orchestra has called its outreach to pre-school students “orKIDstra” for more than 15 years. Its emphasis and structure have changed a few times. It has used current combination of percussion ensembles and children’s books for about five years.
A web search found classical music programming for children called orKIDstra in three different countries. Besides the clever pun, I find no connection. Continue reading