Salon Bookbag: The History of Pop
The theory that rock and roll is the mongrel offspring of blues and
country music is an oversimplification that nobody takes literally
anymore. But its spirit lives on in the authenticity quests of the
best recent rock books--Greil Marcus's folk-friendly Invisible
Republic, say, or Robert Palmer's Rock & Roll:
An Unruly History,
which counterposes rock Dionysianism against "faux-Apollonian" pop.
As a result, readers who suspect it's more reasonable to see rock
as a triumphal stage in the evolution of the popular music that
predated it--its dominant species, so to speak--are hard pressed to
figure out exactly what the details of that evolution might be.
Making it harder is that most devotees of prerock pop still
believe deep down that what's happening now is only a phase--that
in a just tomorrow, Cole Porter will rool again. For them, Alec
Wilder's 1972 American Popular Song is holy writ; for me it's
technically percipient and intellectually vacuous. The six books
below signpost a middle approach that understands pop as tradition
and industry, way of entertainment and way of art. Three are by
highly readable academic musicologists, two of whom festoon their
prose with notation I hope you'll get more from than I do; three
are by journalists and/or novelists, only one a music specialist.
All are much better-written than the Wilder, but those in the
latter category are definitely easier to get through. Harder to
find, too; I just bought two of them used online after making do
with illicit photocopies for a decade.
Charles Hamm: Yesterdays: Popular Song in America
From the commodious pleasure gardens of 19th-century London to the
well-appointed studios of '70s rock, this generous history
concentrates on sheet music, but concludes that in pop, composition
without performance is an anomaly. Excellent on "Irish" melody,
"classic" Tin Pan Alley, the music of minstrelsy, and the protest-singing
Hutchinson Family, who really tore up the 1840s. My idea of
holy writ.
Joseph Wechsberg: The Waltz Emperors: The Life and Times and Music
of the Strauss Family
The main drawback of Hamm's book is that it bypasses instrumental
music, especially dance music. This elegantly written and
illustrated bio begins just after the flaming youth of the first
true dance craze: the waltz. "Classical" as pop. Also, pop that
dreams of bettering itself, which then as now always seems to mean
"progressing" to something grander and clumsier.
Peter van der Merwe: Origins of the Popular Style: The Antecedents
of Twentieth-Century Popular Music
The unorthodox speculations of a South African musicologist on the
structural links between British and African song, whose fusion
into blues doesn't seem so strange to him. Explains African rhythm,
melodic dissonance, and how nothing strengthens a song more than
membership in a "tune family" comprising adjustable modules that
invite infinite individual variation.
Colin MacInnes: Sweet Saturday Night: Pop Song 1840-1920
The author of Absolute Beginners was always a music man. This is
his fond, anecdotal, critically acute history of English music
hall, as class-conscious a subgenre as pop has produced--which
doesn't have the strictly progressive political consequences a good
left-Labourite might hope.
Gerald Mast: Can't Help Singin': The American Musical on Stage
and Screen
Film historian Mast lingers a tad too long in Hollywood for our
purposes. But where Hamm and van der Merwe are slightly dismissive
of the Tin Pan Alley pantheon Wilder adores, Mast explains
eloquently why a sane person might worship there, with telling
attention to the individual visions of Hart, Gershwin, and the
rest. He also lays out why "America's greatest art form" is in
permanent decline.
Robert Cantwell: Bluegrass Breakdown: The Making of the Old
Southern Sound
Bluegrass isn't any kind of "authentic" folk form. As Cantwell
emphasizes, it's the conscious construction of one man, Bill
Monroe, who catered to the reflexive nostalgia of his core market
by dressing modern music, especially jazz, in the trappings of a
tradition that only existed because he said it did. Cantwell writes
searchingly about rhythm and vocal production, too, and has the
guts to name minstrelsy as the root of pop.
Salon, Oct. 27, 2000
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