Module 4

Upon the conclusion of World War II, some of the most advanced pushes to vernacular music took place as Starr and Waterman (pg.199). With these advances, the way we brought this music to the masses would have to be transformed through the use of radios, broadcasting, recording and records. The record companies began to target the youth as well as young adults or “audiences” as it is referred to today. In the early 1950’s, popular and revolutionary ideas began to emerge such as Tdd Storz and the idea of Top 40 radio programming (pg. 201), record companies paid DJs to put their records into “heavy rotation”, magnetic tape recording, audiotape and tape recorders contributed to the evolution of the quality recordings (pg. 202).  This idea is further supported by noting the “Battle of the Speeds” in which LP’s (Created by Columbia) were introduced to compete with the sound quality of its predecessor: the 78 r.p.m. disc (pg. 203).  This movement was then answered by the RCA Victor Corporation’s creation of the 45 (pg. 204).  To reach a technological compromise, turntables were set up to accommodate all three existing formats (pg. 204).  Most of all, television played a strong role in the influence of American music on culture.  Audiences had new access to music in a form that fused radio, records, and cinema into one. 

In 1946, the focus of popular music changed from band leaders/instrumental leaders like Count Basie, Glenn Miller, and Benny Goodman to crooners like Frank Sinatra, Perry Como, and Nat “King” Cole to name a few (pg. 205).  Sinatra’s unique approach to  singing became known as the crooner singing style. A great example of this style is found in Sinatra’s “Nancy (With The Laughing Face).”  Sinatra always wanted to replicate the melodic strength, smoothness, and playing techniques of instrumentalists to his singing (pgs. 207-208).  Another great band leader of the time was Nat “King” Cole. One of his better known pieces, especially his 1948 recording of “Nature Boy” was his first record with full orchestral accompaniment.  Cole was most well known for other styles and pieces, however,  “Nature Boy” truly exemplifies his success in an era that was dominated by white artists.  This song reached number one on the Billboard charts where it remained for eight weeks – obviously a very big deal for an African American musician.  While Nat “King” Cole’s career was remarkable in the fact that he became one of the most successful artists of the crooner era, but that he surpassed predominantly white musicians in doing so. In later years, the crooner style and need to write “hit” songs at the time influenced Broadway.  Previously dominated by the works of Rodgers and Hammerstein (Oklahoma!, South Pacific, The Sound of Music) until the death of Hammerstein in 1960, the appearance of Broadway songs on pop charts became a less common occurrence (pg. 212).  

Styles of music formally known as “hillbilly music” underwent a series of changes to meet the demand of social needs within the desired audiences. Once these changes were made, “hillbilly music,” became known as  “Country” and “western.” Urban Folk music, led by artists like The Weavers (starring Pete Seeger) and Woody Guthrie, performed repertoire based on American folk songs which would influence many future artists, like Peter, Paul, and Mary, Bob Dylan, and the Kingston Trio. Country and western music would explode in popularity after World World II (pg. 231).  Country’s core audience would begin in the south but would eventually spread evenly to other parts of the country. As the style would begin to spread, certain sub genres would form, including bluegrass (“It’s Mighty Dark To Travel”) and honky tonk (“The Wild Side of Life” and “It Wasn’t God Who Made Honky-Tonk Angels").  Of all country/western artists to emerge at this time, Hank Williams is the most significant single figure (pg. 237).  One of his best songs, “I’m So Lonesome I Could Cry” is strophic, allowing the audience to follow the story more clearly, while his song “Hey, Good Lookin’” is somewhat different, and considered a startling anticipation of a later movement in the fusion of blues and country/western - rockabilly (pg. 238). 

In a similar style, as “hillbilly music” began to change, so did Rhythm and Blues music, formerly known as “race music.”  Louis Jordan’s “Choo Choo Ch’ Boogie” is written in a “jump blues” style, the first commercially successful category of rhythm and blues (pg. 221).  Jordan’s recording influenced a number of future artists, such as the infamous Chuck Berry and James Brown. Along with Jordan, “Choo Choo Ch Boogie” was cowritten by Milt Gabler and two country and western musicians. While the “jump blues” style was extremely popular during this time, another popular style was a mix of blues and crooner music. On of the most notable performers, Charles Brown, had a famous performance in 1950 of “Black Night.” Brown’s smooth sound and piano accompaniment helped him gain a reputation in the musical world. Another famous piece that exemplified the style of R and B was  Muddy Waters’ “Hoochie Coochie Man.” This song was indicative of call-and-response alternation between the vocals and instrumental accompaniment, including guitars and harmonica.  “Doo-wop” also received acclaim as part of the Postwar music movement.  “Doo-wop” groups like The Dominoes solidified themselves in the popular mainstream with usage of new techniques like rocking dance rhythms, naughty lyrics, and a bass lead vocal (pg. 227).  The Mambo Craze of the late 40’s and early 50’s provided a “ramp up” of energy on the dance floor (pg. 215).  It was up-tempo, highly energized, polyrhythmic in texture, and a variant of previous big band music.  “Mambo No. 5” by Perez Prado and performed by Prado and His Orchestra is a great example of music of the Mambo style, containing all of the elements of dance music as well as popular music.