Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
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Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age century advancements in mass communication allowed widespread dissemination of new forms of entertainment. The mass culture of the early twentieth century' was defined by a newfound accessibility to music, comedy, and drama. Radio was on the cusp of its emergence into everyday American life. Access Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age to recordings and piano rolls benefited talented young musicians developing their own skills, and newfound audiences looking for amusement supportedTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
traveling vaudeville acts with many of these musicians. Ragtime emerged from the same business of show that made minstrelsy and coon songs popular.Geo40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageouses of songwriters who produced popular tunes in the same styles of the ragtime artists of Chicago and New Orleans.1 Many of the musicians of the Tin Pan Alley were Jewish Americans who used connections among their own community to promote new talent and help each other learn a living by working i Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Agen the entertainment industry. This new' form of music was highly popular, but critics looked dow n on the culture it was associated with: they saw itTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
as a crude and vulgar form of entertainment.2Several Jewish Americans were involved in the music and entertainment industry, whether as publishers, ba40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz AgeYork Amsterdam News. "With Our Song Writers Along Tin Pan Alley." May 1930. Words and Music sec.Taubman. Howard. "Washington D.A.R. Refuses Jazz Band's Bid For Constitution Hall Because of Audience." New York Times. February 21, 1946.2exaggerating African American culture."' Mocked as it was. the pr Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageeoccupation and interest in black culture gave African American musicians a valuable asset: they gained a living entertaining and performing for whiteTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
audiences.James p. Johnson was a prominent figure in rhe early years of rhe Harlem Renaissance, in the bustle of New York rhe young pianist was able 40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageone of the first styles of ragtime that utilized improvisation, and contributed to the growing interest in Harlem's entertainment culture.* * 3 * * * Johnson and his contemporaries’ style would lay a portion of the groundwork for what would become modem jazz. By 1917 Johnson had solidified a place a Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Agemong Harlem's best musicians, and it was then that he met a 13-ycar-oId Thomas Wright Waller, better known later as "Fats.” Under Johnson’s tutelage WTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
aller excelled in ability, and quickly gained notoriety as an up-and-coming stride pianist/' Both would become key figures in the Harlem jazz scene.A 40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age be used alongside a piano to reproduce the original composition on the piano itself. It was at the Aeolian recording company that Johnson first met George Gershwin.x The meeting has■' New York Herald-Tribune. "Fats Waller Presents Carnegie Hall Recital." January 1942.Brown. Scott E.. and Robert Hil Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Agebert. James p. Johnson: a case of mistaken identity. Meluciien.NJ.: Scarecrow Press and the Institute of Jazz Studies. Rutgers University. 1986. BurleTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
igh.Russell. Ross. "Grandfather of Hol Piano... James p. Johnson." Jazz Information. November1941Logan. Malcolm. "Pals Waller Dies; Pastor’s Son Gaine40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageof significance. Johnson was recording popular blues rolls while Gershwin worked on themes inspired by oriental imagery' and sound. It is also significant that Johnson was developing his own career as Gershwin began experimenting and innovating with new forms and styles. The two met and conversed oc Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Agecasionally. They discussed the future of their respective music, and found common ground on their mutual aspirations to develop symphonic arrangementsTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
and to further a complex. American art form. ' Johnson had a career that was just beginning to take off. and the congenial relationship that resulted40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age typical story. Jewish and African Americans played a specific role in the development and advancement of Jazz as popular entertainment, cultural commodity, and an artistic means of expressing the rapidly changing world of Modernity.9 10 This bi modal collaboration in early Jazz between African Amer Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageicans and Jewish Americans resulted in increased financial success for early jazz musicians, which in turn created conditions that were conducive to aTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
rtistic development and creative investment.The questions central to this study regard race and popular culture. I low does popular entertainment beco40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age Jewish and African Americans influence or collaborate with each other, and w hat is9 Ibid.New York Amsteidam News. "With Our Song Writers Along Tin Pan Alley.” May 1930. Words and Music see.4the result of such interactions? Analyzing news clippings, reviews, memoirs, recordings (published or otherw Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageise). interviews and playbills will provide insight into these questions. Before going any further, though, the conditions that lead to the particularTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
s of the early New York jazz scene and cursory knowledge of the major actors of this narrative must be discussed.James p. Johnson was born in New Brun40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageoduced him to cabaret players, and Johnson learned his own skills playing with these ticklers. Johnson came to New York in 1908. and it was there that his skills as a pianist began to really emerge. "In Jersey City 1 heard good piano from all parts of the South and West, but I never heard real ragti Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageme until we moved to New York.'*" Johnson related in a typical story of New York's ragtime tradition. Indeed. Johnson's initial exposure to the culturTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
al productivity of New York ultimately shaped him as one of the premier ragtime pianists of the city. I le played parties, shows, wrote compositions a40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Agecorded hits like the "Carolina Shout."Johnson was one of the most important musicians in developing the stride style, which was a style of ragtime piano that encouraged improvisation and lively, uptempo arrangements. The name "Stride" comes from the way the player moves up and down octaves with the Ticklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Ageleft hand, which makes both hands appear as if (hey are striding up and1 Davin. T. “Conversations with James p. Johnson." Jazz Review II. 1959. 12 IbiTicklers and the Tin Pan Alley Acculturation and Artistry in the Jazz Age
d.540310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentieth 40310Ticklers and the Tin Pan Alley:Acculturation and Artistry in the Jazz AgeAlexander M. Truong1Advisor: Professor Nan EnstadIn the early twentiethGọi ngay
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