Scott Derek B. Sounds of the Metropolis: The 19th Century Popular Music Revolution in London, New York, Paris and Vienna
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Sounds of the Metropolis
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Sounds of the Metropolis
The Nineteenth-Century
Popular Music Revolution in
London, New York, Paris, and Vienna
Derek B. Scott
1
2008
3
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Library of Congress Cataloging-in-Publication Data
Scott, Derek B.
Sounds of the metropolis : the nineteenth-century popular music revolution
in London, New York, Paris, and Vienna / Derek B. Scott.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-19-530946-1
1. Popular music—Europe—To 1901—History and
criticism. 2. Popular music—New York (State)—New
York—To 1901—History and criticism. I. Title.
ML3470.S38 2008
781.6409’034—dc22 2007025321
135798642
Printed in the United States of America
on acid-free paper
Acknowledgments
The ten years of research that culminate in the production of this book
may never have begun had not Helen Greenwald given me such warm
encouragement after hearing a couple of my early conference presen-
tations on this topic. I make this statement to express my gratitude, of
course, and not to hold her responsible for any failings in the end prod-
uct. Earlier versions of chapters 6 and 7 appeared, respectively, in Julian
Rushton and Rachel Cowgill, eds, Europe, Empire and Spectacle in 19th-
Century British Music (Aldershot, England: Ashgate, 2006), 265–80, and
Music and Letters 83, no. 2 (May 2002), 237–58. I am indebted in my
Strauss research to the help given to me by Eduard Strauss and Thomas
Aigner of the Wiener Institut für Strauss-Forschung (WISF), and I
benefited much from being able to consult the comprehensive Strauss-
Sammlung housed at Bartensteingasse 9 in Vienna. I am indebted to
Mireille Ribière for informative advice on various aspects of French cul-
ture, and also for being so helpful whenever I had queries or translation
problems with French texts. Beate Peter performed a similar service
whenever I encountered difficulty with German texts. I am grateful to
Bill Weber for allowing me to peruse his forthcoming book on the trans-
formation of musical taste in the nineteenth century—especially given
that the current academic climate tends to put scholars in a competitive
relation to each other rather than encouraging mutual endeavor. I wish
to thank the British Academy for financial help, and the University of
Leeds and the UK’s Arts and Humanities Research Council for financ-
ing a period of research leave that covered the writing-up of this study.
I am grateful to the American Musicological Society Publications Com-
mittee for awarding a subvention grant from the Gustave Reese Publi-
cation Endowment Fund, and I much value the support given to me
during the production process by Suzanne Ryan, Norman Hirschy, and
Robert Milks at OUP, New York. Finally, thanks go to my wife, Sara,
and the many friends, colleagues, and students who have helped me
to clarify in my mind the ideas and arguments presented in the pages
that follow.
vi Acknowledgments
Contents
Introduction 3
Part I The Social Context of the Popular
Music Revolution
1 Professionalism and Commercialism 15
The Sheet Music Trade / The Piano Trade / Copyright and Performing Rights /
The Star System
2 New Markets for Cultural Goods 38
Promenade Concerts / Dance Music / Music Hall and Café-Concert /
Blackface Minstrelsy, Black Musicals, and Vaudeville / Operetta
3 Music, Morals, and Social Order 58
Respectability and Improvement / Physical Threats to Morality / Public and
Private Morality / Threats to Social Order / Threats to Public Morality
4 The Rift between Art and Entertainment 85
Light Music versus Serious Music / Art, Taste, and Status / Opera versus
Operetta / Folk Music: Edification for the Uncritical
Part II Studies of Revolutionary Popular Genres
5 A Revolution on the Dance Floor, a Revolution in Musical Style:
The Viennese Waltz 117
Unterhaltungsmusik and Popular Style / Stylistic Features / Music and
Business / Class and the Metropolis / Artiness and Seriousness
6 Blackface Minstrels, Black Minstrels, and Their European
Reception 144
Seeking the Black beneath the Blackface / England’s Preeminent Minstrel
Troupes / Black Troupes / Minstrel Contradictions / The Minstrel Legacy
7 The Music Hall Cockney: Flesh and Blood, or Replicant? 171
Phase 1: Parody / Phase 2: The Character-Type / Phase 3: The Imagined Real
8 No Smoke without Water: The Incoherent Message
of Montmartre Cabaret 196
The Chat Noir and Aristide Bruant / Other Cabaret Artists / The Proliferation of
Artistic Cabarets / Cabaret and the Avant-Garde
Notes 219
Bibliography 269
Index 289
viii Contents
Sounds of the Metropolis