Timeline of music in the United States (1920–49)

Timeline of music in the United States
Music history of the United States
Colonial erato the Civil WarDuring the Civil WarLate 19th centuryEarly 20th century40s and 50s60s and 70s80s to the present

This is a timeline of music in the United States from 1920 to 1949.

1920

Early 1920s music trends
  • In jazz bands, the cornetist becomes more and more frequently assigned to the melody of a piece, rather than shifting that responsibility among various instrumentalists.[17]
  • American audiences begin to turn away from predominantly German classical music towards works by the like of Frenchman Erik Satie and the Russian Alexander Scriabin.[18]
  • An organized country music industry begins to evolve, through commercial recording and radio broadcasting.[19]
  • Austrian composer Arnold Schoenberg begins advocating serialism, a composition technique that will come to dominate American classical music later in the 20th century.[20]
  • The creative peak of jazz in Chicago.[21]
  • A printers strike and paper shortage decimates the music publishing industry by raising costs, as customers are beginning to focus more on recordings than sheet music.[22]
  • The golden age of the "black female blues singer" begins and ends.[23]
  • American public schools begin offering music instruction for band and orchestra.[16]
  • The Flanagan Brothers begin recording prolifically with great success. Mike Flanagan is the most popular Irish banjoist of the era.[24]

1921

1922

1923

1924

1925

Mid-1920s music trends
  • Henry Ford helps usher in what he refers to as a "square dance revival".[115]
  • Scholars and collectors of folk songs become increasingly concerned about the authenticity of the blues they were recording and describing.[116]
  • Hall Johnson and Eva Jessye lead a number of professional choirs to fame, bringing media attention to the concert-arranged African-American spiritual.[38]
  • Sylvester Weaver, Lonnie Johnson and Papa Charlie Jackson are among a number of male solo vaudeville performers to begin recording attempts at popular blues, but Blind Lemon Jefferson's recordings in 1925 kicked off a wave of like-minded acts.[10]
  • Record companies begin recording and marketing to Mexican Americans in California.[117]
  • A more traditional sound in Finnish-American commercial recordings supplants the earlier format, which was based around semi-classical performance.[96]
  • With the advent of national radio broadcasting companies, large businesses begin to sponsor a single show in its entirety. By 1927, as much as half of the total budget at major advertising companies is spent on radio.[118]
  • The Aeolian Company's Pianola, a barrel organ, becomes widespread. The barrel organ will do more to spread musical knowledge in the United States than anything until the gramophone.[119]

1926

1927

1928

Late 1920s music trends
  • Louis Armstrong becomes one of the most renowned and iconic figures in the world of jazz. His work during this period is a synthesis of African American folk song, the music of the cabarets and the veneration of virtuosity in the Chicago music scene.[193]
  • With the rise of talking pictures, the first movie musicals are released.[194]
  • The term skiffle comes into vogue to describe the blues played by jug bands.[195]
  • Interest in traditional American square dances peaks.[115]
  • Woody Guthrie spends time performing in Pampas, Texas, where he is exposed to Mexican and Tejano music. He will leave lasting influences on American folk and country music from these fields.[196]
  • The Communist International officially defines jazz as a "proletarian music", leading to an association between jazz and leftist politics in the United States.[197]
  • Jackson, Mississippi music store owner H. C. Speir becomes a talent scout for all the major record labels, and will be responsible for signing many of the major Mississippi bluesmen who will become famous later in the century.[198]
  • Spanish-language radio broadcasting begins, targeting Mexican Americans in California.[117]
  • A large accordion with twenty-one buttons and double rows becomes the standard equipment in the Tejano conjunto.[199]
  • Pianist Mary Lou Williams begins her professional performing career. She will be the first woman to be fully accepted in jazz circles.[200]
  • Both Italian American theater and vaudeville cease to dominate the musical life of Italian Americans.[201]
  • Viola Turpeinen begins recording commercially, making her the most successful of the early Finnish American entertainers.[96]
  • Though polka had commonly been performed in urban areas of the East and Midwest, the earliest organized, large polka bands are formed in this era.[13]
  • Mac and Bob, performers on the WLS radio station, popularize a style of duet singing accompanied by mandolin and guitar.[202]
  • Walt Disney begins releasing a series of cartoons, which will include the Silly Symphony series and Steamboat Willie, which are collectively one of the major elements in early film scores.[187]
  • A wave of influential blues performers move to urban areas, especially Chicago, from the rural South. These include Memphis Minnie, Scrapper Blackwell and Leroy Carr.[203]
  • Most radio broadcasting switches from locally produced material to nationally broadcast network programming, causing a decrease in the diversity of music on American radio.[204]\
  • Variety shows, a mixture of music, light entertainment and vocal music, becomes the most popular form of radio program in the country, led by the show of Ed Cantor.[205]

1929

1930

Early 1930s music trends
  • The creative peak of jazz in Kansas City,[21] as the "city becomes a magnet for black musicians", including touring bands from across the country, Delta and urban blues singers, and jazzmen from New Orleans and elsewhere. Major characteristics of the Kansas City jazz style include the use of repeated riffs, "short melodic ideas -- repeated again and again by the full ensemble, often in unison by the brasses and sometimes by the rhythm section to support solo improvisation", and the accenting of all four beats equally, rather than the first and third as in New Orleans jazz. The Kansas City style also influences the blues, which becomes "lustier and more powerful".[251]
  • Eva Jessye becomes one of the first "professional female choral conductors, black or white, in the United States", leading a choir on NBC and CBS.[38]
  • Chicago becomes the center for the blues record industry.[10]
  • Frank Sinatra begins performing; he will go on to become one of the first musical superstars and the first teen idol, and inspires a legion of Italian American performers.[201]
  • The end of the golden age of Finnish American entertainment, which was dominated by solo troubadours.[96]
  • Richard Ranger begins work on an organ, using photoelectric cells. This is one of the earliest electronic instruments created in the United States.[252]
  • Benjamin F. Miessner patents an electric piano, several models of which begin going into production in about 1935.[253]

1931

1932

1933

1934

Mid-1930s music trends
  • The era of greatest success for commercially recorded jubilee quartets begins.[303]
  • Ballroom-style polka becomes the dominant form of the music among Polish-American communities.[13]

1935

1936

1937

Late 1930s music trends
  • The radio industry matures, beginning to more successfully focus on increasing market share rather than "abstract cultural good", diminishing the "demand for fine-art music and correspondingly (increasing) the demand for popular music".[59]
  • Big band swing music makes jazz a part of mainstream American pop. The popularity of swing ensembles inspires many jazz enthusiasts to focus on the improvisation and innovation, rather than the danceable pop sound of swing. This is the first form of popular music to be divided into separate realms of commercial and artistic success.[353] A number of jazz music journals also begin documenting the burgeoning genre of swing.[256]
  • Early record companies specializing in jazz appear, like Commodore HRS and Blue Note, as do the first of a steady stream of American books on jazz, including Frederic Ramsey and Charles E. Smith's Jazzman, Wilder Hobson's American Jazz Music and Henry Osgood's So This Is Jazz.[316]
  • Chicago becomes a "center for blues performance" in the city's large African-American community,[354] while a kind of piano-based blues called boogie-woogie becomes the most popular form of the blues.[10]
  • The Golden Gate Quartet becomes one of the most popular recording artists in the country, beginning the era of greatest popularity for gospel music.[355]
  • The term gospel comes to be applied to the genre now known as gospel music.[356]
  • Greenwich Village becomes a center for a burgeoning American folk music revival, and is home to renowned performers like Aunt Molly Jackson, Sarah Ogan and Jim Garland.[357]
  • The Hollywood musical settles on a format based around a "romantic comedy" with "four or five songs and a dance or two".[358]
  • The town of Lindsborg, Kansas begins holding public celebrations of Swedish culture; the town will become a center for Swedish American music later in the century.[96]
  • The piano accordion reaches its height of popularity, with many schools teaching the instrument and its repertoire, which depends in large part on Italian-derived music.[201]
  • The bands of Lu Watters, Eddie Condon and Bob Crosby become popular in New York City, inspiring a revival of interest in old-time New Orleans-style jazz that will peak at the end of the following decade.[359]
  • Sholom Secunda, a Yiddish theatre composer writes "Bay mir bist du sheyn", which becomes an unprecedented mainstream success.[298]
  • Sonny Terry, accompanying Blind Boy Fuller, popularizes the use of the harmonica in the blues.[360]
  • The importance of the tres in the Cuban son peaks, while Arsenio Rodríguez enjoys the height of his popularity; Rodriguez' main innovation is to incorporate the mambo, which is introduced in Cuba in this same era.[361]
  • The Wings Over Jordan Choir begins performing on radio, becoming one of the first major large choirs in gospel music.[362]

1938

1939

1940

Early 1940s music trends
  • A period of jazz innovation begins to evolve in Harlem, led by a group of performers who clustered around Minton's Playhouse,[402] where they "experimented with new techniques and approaches, trading ideas with others of an innovative bent", "rooted in Swing Era practice but pushing beyond its norms of tonality and velocity".[403] This is an important part of the origin of bebop.[56]
  • Square dances regain popularity among mainstream Americans.[115]
  • Large record companies begin abandoning the "ethnic music" market, leading to the formation of many small labels targeting a specific ethnicity, such as Slavic Americans.[364]
  • Frank Sinatra becomes the first popular musician with a recognizable fanbase devoted to him specifically – the bobby soxers.[404]

1941

1942

1943

1944

1945

Mid-1940s music trends
  • The Roberta Martin Singers adds two female performers, making it the "first combination of male and female voices in one ensemble". The Singers were performing and recording in New York, working with independent labels that focused on jazz and rhythm and blues.[453]
  • The end of the creative peak of jazz in Manhattan.[21]
  • Square dances have become an integral part of American culture, and is part of the physical education curriculum in many schools.[115]
  • A thirty-one-treble-button accordion with triple rows becomes the dominant form of the instrument used in the Tejano corrido; specifically the Hohner Corona II and Gabbanelli are popular kinds of accordion.[199]
  • Walter Solek introduces English language polkas to the Polish American repertoire.[13]

1946

Late 1940s music trends
  • Record companies begin more fiercely competing for radio airtime.[405]
  • The first radio stations aimed exclusively at black listeners begin in the South, especially Atlanta, Louisville, Memphis, Los Angeles, St. Louis, New Orleans, Nashville and Miami.[473]
  • Paul Bigsby creates an electric guitar for Merle Travis, a country singer. Though the exact date is not known, it may be among the earliest solid body electric guitars.[260]
  • Eddie Jefferson becomes the first prominent performer of vocalese, songs in which new vocal tracks are set to instrumental jazz recordings.[474][475][476]
  • The "idea that music could have an essence separate from the way it sounded in performance", an idea long seen as exclusive to Western classical music, comes to be applied to jazz through performers like Charlie Parker, focusing on "creation and performance, in the manner of classical musicians letting reception take care of itself"[21]
  • Many country performers begin experimenting with a pedal steel, a steel guitar on a stand set up so that the guitarist can change pitches and chords.[49]
  • The Old Regular Baptists of Jesus Christ, a small sect in eastern Kentucky, move in large numbers to Indiana, Michigan and Ohio. They preserve traditional Christian music techniques derived from 18th century New England, such as the heterophonic performance of monophonic tunes and the lining out of hymns.[477]
  • George Herzog sets up the Archives of Traditional Music at Indiana University, which will be the largest ethnographic archive in an American university.[209]
  • Inspired by pioneer Bill Monroe and his band, a generation of younger prformers, many of them working-class and frequently migrants from rural areas to cities, form a number of important proto-bluegrass bands.[478]
  • The technology behind electric loudspeakers and amplifiers begins progressing rapidly.[60]
  • Gospel jubilee singing groups end their last period of great popularity within the field of African-American Christian music.[479]
  • The genre now known as rock and roll begins to reach its breakthrough form.[480]
  • The guitar becomes the most prominent instrument in the blues.[10]
  • The nascent bebop jazz scene comes to include a number of defining cultural characteristics, including the "unfortunate fashionability of heroin", which was inspired, in large part, by the success of addict Charlie Parker, the use of African-American vernacular-derived slang, and criticism of the racial politics of the era.[124]
  • The independent record labels that dominate the African-American music industry begin targeting the growing teenage demographic by signing performers from that age group. Jesse Stone and Dave Bartholomew are among the legendary talent scouts from this era.[370]
  • Tony de la Rosa adds the drum set to the Tejano conjunto style, forever changing the genre's sound; he will later add amplification and the bass to the field.[199]
  • German American bands begin performing in a manner influenced by swing and jazz.[13]
  • Slovenian American dance bands, until now dominated entirely by the accordion, come to include banjo, string bass and drum set.[13]
  • The accordion polka craze in the United States peaks.[13]
  • The Holocaust has several effects on Jewish music in the United States, namely leading to a decline in Yiddish language music and a rise in cantors being trained at home rather than in Europe.[298]
  • Turkish Armenian 'ud player Oudi Harrant moves to the United States, becoming one of the most popular Middle Eastern musicians in the country.[98]
  • The Yale Collegium, though not the first of its kind, is the most influential in beginning the American collegium movement, and is an important early institution in American early music.[147]
  • A series of country boogie hits - country songs with an uptempo beat – become popular, including recordings like Tennessee Ernie Ford's "Shot Gun Boogie" and "Blackberry Boogie".[481]
  • The term hi-fi, referring to high fidelity, comes into use, associated with the spread of LPs.[482]
  • Latin jazz musicians like Chano Pozo and Juan Tizol develop a style known as Cubop.[114]

1947

1948

1949

References

Notes

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  3. 1 2 3 Jones, p. 99.
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  12. 1 2 Crawford, p. 675.
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  14. 1 2 3 4 5 6 7 8 9 Southern, p. 361.
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  17. Crawford, p. 566.
  18. Crawford, p. 569.
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  21. 1 2 3 4 Crawford, p. 759.
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  126. Crawford, p. 626.
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  128. Southern, p. 381.
  129. Malone and Stricklin, p. 56.
  130. Clarke, pp. 78-80.
  131. 1 2 Malone and Stricklin, p. 63.
  132. Davis, p. 144.
  133. Southern, p. 413.
  134. Clarke, p. 125.
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  223. 1 2 3 4 5 U.S. Army Bands
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  227. Koskoff, p. 215.
  228. Gayle Dean Wardlow, Chasin' That Devil Music, 1998
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  231. Gates and Appiah, p. 1048.
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  245. 1 2 Zheng, Su. "Chinese Music". The Garland Encyclopedia of World Music. pp. 957–966.
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  254. Wayne W. Daniel, "Charlie D. Tillman (1861–1943)" in New Georgia Encyclopedia: Arts Section.
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  298. 1 2 3 Slobin, Mark. "Jewish Music". The Garland Encyclopedia of World Music. pp. 933–945.
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  301. Jones, p. 183; Jones notes that, while the dominant saxophonist of the day, Coleman Hawkins, was an impressive virtuoso, it was Young who first innovated a saxophone style.
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  318. Atton, Chris. "Fanzines". The Continuum Encyclopedia of Popular Music of the World. pp. 226–228.
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  375. Hyphen: Music Moments
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  393. Clarke, p. 221.
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  416. Crawford, p. 611.
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  420. Chase, p. 581.
  421. Horn, David; David Buckley. "War and Armed Conflict". Continuum Encyclopedia of Popular Music of the World. pp. 389–395. Horn and Buckley note that the song was also popular among the French and Italians.
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  429. Crawford, p. 720–721.
  430. Miller, p. 29–30.
  431. Sanjek, David. "Acuff-Rose Music". The Continuum Encyclopedia of Popular Music. p. 583. Sanjek calls Acuff-Rose the "first successful publishing company to specialize in country music".
  432. Darden, pp. 188–189.
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  434. Kernfeld, Barry. "Eckstine, Billy". New Grove Dictionary of American Music. pp. 8–9.
  435. Crawford, p. 698.
  436. 1 2 3 4 5 6 U.S. Army Bands
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  452. Street, John. "Politics". Continuum Encyclopedia of Popular Music of the World. pp. 299–294. Street notes that Davis emulated Wilbert Lee O'Daniel, a Texan who came to fame with his band, the Hillbilly Boys, and became a U.S. Senator in 1941
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  454. Crawford, p. 743;
  455. Lankford, p. 122.
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  465. Rumble, John W. "Brown Radio Productions". The Continuum Encyclopedia of Popular Music. pp. 651–652.
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Further reading

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