Song Character Analysis Worksheet - The University of North ...
Song Character Analysis Worksheet - The University of North ...
Song Character Analysis Worksheet - The University of North ...
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
<strong>The</strong>re were two vaudeville associations across the country, white and black, with separate<br />
booking agencies and numerous circuits. 15 <strong>The</strong>se agencies had very strict policies about<br />
the personal and pr<strong>of</strong>essional behavior <strong>of</strong> their contracted players. Many popular singing<br />
stars, including “Ma” Rainey, Bessie Smith, Sophie Tucker, and Ethel Waters, had their<br />
start in minstrel or tent shows before moving to vaudeville, then on to musical theatre.<br />
<strong>The</strong> musical styles <strong>of</strong> vaudeville incorporated a smattering <strong>of</strong> all popular music <strong>of</strong> its day.<br />
<strong>The</strong> singing styles were also eclectic; they ranged from the “coon shouts” <strong>of</strong> Sophie<br />
Tucker, the blues <strong>of</strong> Bessie Smith and Ethel Waters, the French cabaret stylings <strong>of</strong> Yvette<br />
Guilbert, and the European classical repertoire <strong>of</strong> Jenny Lind, the “Swedish night-<br />
ingale.” 16 While operetta was considered appropriate for the upwardly mobile New York<br />
City society, vaudeville was targeted at the newly arrived immigrant class. <strong>The</strong>se new<br />
American citizens appreciated the wide variety <strong>of</strong> musical acts and the comedic ethnic<br />
stereotypes as a means <strong>of</strong> inclusion in American society.<br />
Musical Revue<br />
A cultural step above vaudeville was the extravagant revue. <strong>The</strong> original<br />
American revue, <strong>The</strong> Passing Show, was produced by George W. Lederer in 1894 at the<br />
referred back to the original musical extravaganza, <strong>The</strong> Black Crook, as catering to the growing appetite for<br />
girlie shows, which was unabated in the early twentieth century. Mates, 130.<br />
15 <strong>The</strong> black vaudeville association was TOBA, an acronym for the <strong>The</strong>ater Owners Booking<br />
Association, a consortium <strong>of</strong> white theater owners in the South who ran the black version <strong>of</strong> the vaudeville<br />
circuit.<br />
16 Guilbert had a difficult time with American audiences not understanding or appreciating her<br />
subtle and wry diseuse humor on her two vaudeville tours. Jenny Lind, however, enjoyed a resounding<br />
success (culturally and financially) through the marketing <strong>of</strong> her manager, P. T. Barnum, as she initiated a<br />
renewed interest in European art songs as well as American popular songs throughout the country. For<br />
information on women’s careers in vaudeville, see Alison Kibler, Rank Ladies: Gender and Cultural<br />
Hierarchy in American Vaudeville (Chapel Hill, NC: <strong>University</strong> <strong>of</strong> <strong>North</strong> Carolina Press, 1999).<br />
21