TM, ®, Copyright © 2005 Piero Scaruffi. All rights reserved.
Napoli: the AriaVienna: the WaltzParis, Vienna, London: the OperettaParis: the CabaretBerlin: the CabaretBritain: the Music HallRoma: the CanzonettaNew York: Tin Pan AlleyNew York: the Minstrel ShowNew York: the RevueNew York: the Night ClubSt Louis: RagtimeUSA: Ballroom DancingMemphis: Jug musicNew Orleans: SpasmLafayette: CajunTexas: tex-mexLondon: Mood musicUSA: TV Variety ShowUSA: the Soap OperaUSA: Remaking the Music BusinessThe Origins of the American DominationNew York: The MusicalHollywood: Film MusicThe South: Negro MusicNegro Music: the African PerspectiveNegro Music: the European PerspectiveNew York: the Birth of a Black NationNew Orleans, Kansas City, MemphisThe Delta: Blues MusicChicago: Urban BluesChicago: Gospel MusicChicago: Boogie-woogieSouthern States: Hillbilly MusicNew York: DissentTexas and Tennessee: Country MusicThe Importance of Country Music...see the book on jazz music...New York: Jump BluesLos Angeles: Sophisticated BluesInterlude: Rocking Around the ClockChicago: Rhythm'n'bluesPost-war Gospel MusicKansas City: the ShoutersRoaring DivasChicago: Post-war Blues GuitarBlues Guitar ElsewhereMemphis: Post-war Blues CrooningNew Orleans: Piano Blues and Swamp BluesPost-war Vocal GroupsDoo-wopThe Importance of Rhythm'n'Blues MusicArgentina: the TangoBrazil: the SambaCuba: the SonTrinidad: the CalypsoUSA: After Tin Pan AlleyNew York: Easy ListeningJamaica: the MentoGhana: the HighlifeCongo: the SoukousSouth Africa: the MbaqangaBrazil: BossanovaUSA: Latin PopArabs: MaqamIndian Classical MusicFrance: the ChansonniersFrance: the Ye'ye GenerationAlgeria: the RaiRussia: the IntelligentsiaLatin America: the Nueva CancionThe Nashville SoundNashville SongwritersBakersfield: Honky-tonkNashville: Country-popThe Founding Fathers of Soul MusicSoul Singer-songwritersSoul and RockSoul StylesSouthern SoulDetroit SoulNew York: The Post-war MusicalNew York: Concept MusicalHollywood: The New Wave of Film MusicFilm Music as AmbienceVideogame MusicFilm Music of the 1990s...see the book on rock music...PrefaceHaving written a book on rock music and a book on jazz music, and being in the process of writing a book on the classical music of the 20th century, i felt the need to put somewhere the many musical genres and movements that do not quite fit either of these categories. I also felt that i needed to research the beginning of the industry of popular music in Western Europe and the USA in order to better understand the dynamics of the industry of jazz and rock music. I also felt that ethnic music has become so pervasive that one should trace its parallel development next to Western European and USA musical genres. This book aims at filling all these gaps. I did my best to give it an organic feeling, although it is obvious that musicians from such diverse regions of the world had very little in common. Only after the synthesis of the 1970s can we talk of a global history of popular music. This book is about the foundations of that synthesis.It was not terribly difficult to decide how to separate jazz music from pop music. It was much more difficult to decide how to separate rock music from the rest of popular music, because rock music has absorbed just about everything. Bits and pieces of this book were originally written for my 2003 book on rock music. The borderline is really more temporal than stylistic. Anything that happened after the 1960s is or will be in the book on rock music. Thus reggae and salsa are not in this book, nor is country music of the 1970s. The idea is that you should read this book first, then the history of jazz music and the history of rock music. piero scaruffi, january 2007 Bibliography: Hardy, Phil & Laing Dave: "Faber Companion to 20th Century Popular Music" (1990) John Kenrick's History of the Musical Melody Lane Thanks to Chris Ford for proof-reading the whole text. To purchase the book |
TM, ®, Copyright © 2002 Piero Scaruffi. All rights reserved.