Module 3

Between end of World War I and the beginning of World War II, would bring a great deal of diversity to major cities in the United States. Areas such as New York, Chicago, Atlanta, Detroit and Nashville would soon house many rural communities. As these families began to travel, their typical ideas of “popular music” began to take shape into a vast new repertoire of new styles of music. It became the combination of urban style with rural style. Two main forms from this relocation according to Starr, were called race and hillbilly music. Race music was the style that would relate more to African American folk music (pgs. 126, 127). The folk traditions were able to meld together elements of blues, jazz, gospel, string band and jug-and-washboard bands (pg. 127). One element that was also very strong in race music was the use of personal tales or connections. Songs like W.C. Handy’s “St. Louis Blues” featuring Bessie Smith and Louis Armstrong contain lyrics that were written to highlight the singer’s mistrust over love gone wrong and the hopes to find happiness.  Similar to blues and early rock and roll music it includes a 12-bar blues progression as well as notes within the blues scales. The lyrics from popular race songs create an atmosphere of personal reflections on their past including love, childhoods, emotional connections as well as quality of life. This was in most cases of African Americans all that they had. All of the qualities are closely related to popular blues and rock and roll music, which would shape the future for African American composers.

Hillbilly songs would take shape using new interesting sounds such as new approaches to sounds as well as nonsense syllables. Yodeling was a tactic that was used by Jimmie Rodgers.  He adapted the poetic and musical forms of the blues, as well as certain aspects of blues performance styles (pg. 148) while still respecting the rural origins of southern music.  His “Blue Yodel No. 2” contains a 12-bar blues progression, similar to race music and his melody was very personal.  “Waiting for a Train” also contains a yodel that sounds lonesome, a stylistic element that has influenced more current composers like Willie Nelson and Merle Haggard (pg. 149). While many composers between WWI and WWII would focus on their personal stories, their mark on American popular music would last for years to come. The concepts of “race music” and “hillbilly” composers of the time were highly influential, that these ideas are very note-worthy when examining the evolution of blues, country, and folk music.  

The style of southern gospel music is another form of personal music. Roosevelt Fennoy wrote the song “The Sun Didn’t Shine” with the idea of disassociation from the “dirty” music of blues (pg. 151).  This song in particular allows for vocal virtuosity and intricate rhythms while still relating to personal attributes. Around the 1960’s, the emergence of “soul” incorporated elements of black gospel music but was highly frowned upon up (pg. 151).  Black gospel music of the 1930’s was highly ornate and favored expressivity, unlike the music of the Carter family like “Gospel Ship.”  “Gospel Ship” is rather straightforward, exemplary of the humble devotion to faith within white gospel music (pg. 151).  Essentially, the music of the 1930’s experienced a transition in style, themes, and expansion within the music business (pg. 153). More and more musicians began to think more like businessmen with ideas of branding as well as how to better sell their music  The songs of the time injected social realism, chronicling the suffering of the people (pg. 152) which became highly relatable and marketable.

The evolution of “swing” was an important economic and musical movement.  It represented a step toward communication across racial boundaries, although unequal (pg. 160).  While there were still serious issues with racial tension, African Americans experienced difficulties in getting equal airtime as compared to white musicians. With the evolution of swing music (both white and black swing bands), audience began to appreciate the music rather than the color of the musicians. Swing music impacted culture in a way that allowed for African Americans and white musicians to appeal to similar audiences. “Wrappin’ It Up” by Fletcher Henderson was an exemplary composition of the time, containing call-and-response sections, which were musical traditions, found in gospel and blues music (pg. 161).  These “conversations” were adopted by white bands, further exemplifying the movement of crossing racial boundaries (pg. 161).  It is important to note that swing music appealed to young adults, particularly teenagers and college-age young adults in the form of dance and social gatherings. One of the biggest hits of the swing era was “In The Mood,” arranged by Glenn Miller.  He uses a “trick” ending, making the conclusion of the composition quieter and quieter and eventually finishing strong (pg. 173).   “In The Mood,” became one of the great swing standards that is still performed to this day. It provides students in my jazz band with difficult rhythms and harmonies that incorporate a timeless tradition of swing with a touch of history. While often times it is hard to remember, music of the 1930’s and 40’s maintain a tradition to this day in the 21^st century – leaving its true mark on history.