The American Song Book, Volume I: The Tin Pan Alley Era is the first in a projected five-volume series of books that will reprint original sheet music, including covers, of songs that constitute the enduring standards of Irving Berlin, Jerome Kern, the Gershwins, and other lyricists and composers of what has been called the "Golden Age" of American popular music. These songs have done what popular songs are not supposed to do-stayed popular. They have been reinterpreted year after year, generation after generation, by jazz artists such as Charlie Parker and Art Tatum, Ella Fitzgerald and Louis Armstrong. In the 1950s, Frank Sinatra began recording albums of these standards and was soon followed by such singers as Tony Bennet, Doris Day, Willie Nelson, and Linda Ronstadt. In more recent years, these songs have been reinterpreted by Rod Stewart, Harry Connick, Jr., Carly Simon, Lady GaGa, K.D. Laing, Paul McCartney, and, most recently, Bob Dylan. As such, these songs constitute the closest thing America has to a repertory of enduring classical music. In addition to reprinting the sheet music for these classic songs, authors Philip Furia and Laurie Patterson place these songs in historical context with essays about the sheet-music publishing industry known as Tin Pan Alley, the emergence of American musical comedy on Broadway, and the "talkie" revolution that made possible the Hollywood musical. The authors also provide biographical sketches of songwriters, performers, and impresarios such as Florenz Ziegfeld. In addition, they analyze the lyrical and musical artistry of each song and relate anecdotes, sometimes amusing, sometimes poignant, about how the songs were created. The American Songbook is a book that can be read for enjoyment on its own or be propped on the piano to be played and sung.

America's Songs tells the "stories behind" the most beloved popular songs of the last century. We all have songs that have a special meaning in our lives; hearing them evokes a special time or place. Little wonder that these special songs have become enduring classics. Nothing brings the roarin '20s to life like "Tea for Two" or "I'm just Wild About Harry"; the Great Depression is evoked in all of its pain and misery in songs like "Brother Can You Spare a Dime?; "God Bless America" revives the powerful hope that American democracy promised to the world during the dark days of World War II; "Young at Heart" evokes the postwar optimism of the '50s. And then there are the countless songs of love, new romance, and heartbreak: "As Time Goes By," "Always," "Am I Blue"...the list is endless. Along with telling the stories behind these songs, America's Songs suggests, simply and succinctly, what makes a song great. The book illuminates the way each great song melds words and music -- sentiment and melody -- into a seamless whole. America's Songs also traces the fascinating but mysterious process of collaboration, the give-and-take between two craftsmen, a composer and a lyricist, as they combined their talents to create a song. For anyone interested in the history of the songs that America loves, America'sSongs will make for fascinating reading.

"America's Songs" tells the "stories behind" the most beloved popular songs of the last century. We all have songs that have a special meaning in our lives; hearing them evokes a special time or place. Little wonder that these special songs have become enduring classics. Nothing brings the roarin '20s to life like "Tea for Two" or "I'm just Wild About Harry"; the Great Depression is evoked in all of its pain and misery in songs like "Brother Can You Spare a Dime?; "God Bless America" revives the powerful hope that American democracy promised to the world during the dark days of World War II; "Young at Heart" evokes the postwar optimism of the '50s. And then there are the countless songs of love, new romance, and heartbreak: "As Time Goes By," "Always," "Am I Blue.,."the list is endless.
Along with telling the stories behind these songs, "America's Songs" suggests, simply and succinctly, what makes a song great. The book illuminates the way each great song melds words and music - sentiment and melody - into a seamless whole. America's Songs also traces the fascinating but mysterious process of collaboration, the give-and-take between two craftsmen, a composer and a lyricist, as they combined their talents to create a song.
For anyone interested in the history of the songs that America loves, "America's Songs "will make for fascinating reading.

The American Song Book, Volume I: The Tin Pan Alley Era is the first in a projected five-volume series of books that will reprint original sheet music, including covers, of songs that constitute the enduring standards of Irving Berlin, Jerome Kern, the Gershwins, and other lyricists and composers of what has been called the "Golden Age" of American popular music. These songs have done what popular songs are not supposed to do-stayed popular. They have been reinterpreted year after year, generation after generation, by jazz artists such as Charlie Parker and Art Tatum, Ella Fitzgerald and Louis Armstrong. In the 1950s, Frank Sinatra began recording albums of these standards and was soon followed by such singers as Tony Bennet, Doris Day, Willie Nelson, and Linda Ronstadt. In more recent years, these songs have been reinterpreted by Rod Stewart, Harry Connick, Jr., Carly Simon, Lady GaGa, K.D. Laing, Paul McCartney, and, most recently, Bob Dylan. As such, these songs constitute the closest thing America has to a repertory of enduring classical music. In addition to reprinting the sheet music for these classic songs, authors Philip Furia and Laurie Patterson place these songs in historical context with essays about the sheet-music publishing industry known as Tin Pan Alley, the emergence of American musical comedy on Broadway, and the "talkie" revolution that made possible the Hollywood musical. The authors also provide biographical sketches of songwriters, performers, and impresarios such as Florenz Ziegfeld. In addition, they analyze the lyrical and musical artistry of each song and relate anecdotes, sometimes amusing, sometimes poignant, about how the songs were created. The American Songbook is a book that can be read for enjoyment on its own or be propped on the piano to be played and sung.

From "Over the Rainbow" to "Moon River" and from Al Jolson to Barbra Streisand, The Songs of Hollywood traces the fascinating history of song in film, both in musicals and in dramatic movies such as High Noon. Extremely well-illustrated with 200 film stills, this delightful book sheds much light on some of Hollywood's best known and loved repertoire, explaining how the film industry made certain songs memorable, and highlighting important moments of film history along the way. The book focuses on how the songs were presented in the movies, from early talkies where actors portrayed singers "performing" the songs, to the Golden Age in which characters burst into expressive, integral song--not as a "performance" but as a spontaneous outpouring of feeling. The book looks at song presentation in 1930s classics with Fred Astaire and Ginger Rogers and in 1940s gems with Judy Garland and Gene Kelly. The authors also look at the decline of the genre since 1960, when most original musicals were replaced by film versions of Broadway hits such as My Fair Lady.

From "Over the Rainbow" to "Moon River" and from Al Jolson to Barbra Streisand, The Songs of Hollywood traces the fascinating history of song in film, both in musicals and in dramatic movies such as High Noon. Extremely well-illustrated with 200 film stills, this delightful book sheds much light on some of Hollywood's best known and loved repertoire, explaining how the film industry made certain songs memorable, and highlighting important moments of film history along the way. The book focuses on how the songs were presented in the movies, from early talkies where actors portrayed singers "performing" the songs, to the Golden Age in which characters burst into expressive, integral song-not as a "performance" but as a spontaneous outpouring of feeling. The book looks at song presentation in 1930s classics with Fred Astaire and Ginger Rogers and in 1940s gems with Judy Garland and Gene Kelly. The authors also look at the decline of the genre since 1960, when most original musicals were replaced by film versions of Broadway hits such as My Fair Lady.

From the turn of the century to the 1960s, the songwriters of Tin Pan Alley were synonymous with American popular music. Irving Berlin, Cole Porter, George and Ira Gershwin, Rodgers and Hart-even today these giants remain household names, their musicals regularly revived, their methods and styles analyzed and imitated, and their songs the bedrock of jazz and cabaret. In this new edition of The Poets of Tin Pan Alley, authors Philip Furia and Laurie Patterson offer a unique perspective on these great songwriters, showing how their poetic lyrics were as important as their brilliant music in shaping a golden age of American popular song. Furia and Patterson continue the tradition of great perception and understanding established in the first edition as they explore the deft rhymes, inventive imagery, and witty solutions these songwriters used to breathe new life into rigidly established genres. They devote full chapters to such greats as Irving Berlin, Lorenz Hart, Ira Gershwin, Cole Porter, Oscar Hammerstain II, Howard Dietz, E.Y. Harburg, Dorothy Fields, Leo Robin, and Johnny Mercer. They also offer a comprehensive survey of other lyricists who wrote for the sheet-music industry, Broadway, Hollywood, and Harlem nightclub revues. This was the era that produced The New Yorker, Don Marquis, Dorothy Parker, and E.B. White-and the book places Tin Pan Alley lyrics firmly in this fascinating historical context. In these pages, the lyrics emerge as an important element of American modernism, as the lyricists, like the great modernist poets, took the American vernacular and made it sing.

From the turn of the century to the 1960s, the songwriters of Tin Pan Alley dominated American music. Irving Berlin, Cole Porter, George and Ira Gershwin, Rodgers and Hart--even today these giants remain household names, their musicals regularly revived, their methods and styles analyzed and imitated, and their songs the bedrock of jazz and cabaret. In The Poets of Tin Pan Alley Philip Furia offers a unique new perspective on these great songwriters, showing how their poetic lyrics were as important as their brilliant music in shaping a golden age of American popular song.

Furia writes with great perception and understanding as he explores the deft rhymes, inventive imagery, and witty solutions these songwriters used to breathe new life into rigidly established genres. He devotes full chapters to all the greats, including Irving Berlin, Lorenz Hart, Ira Gershwin, Cole Porter, Oscar Hammerstain II, Howard Dietz, E.Y. Harburg, Dorothy Fields, Leo Robin, and Johnny Mercer. Furia also offers a comprehensive survey of other lyricists who wrote for the sheet-music industry, Broadway, Hollywood, and Harlem nightclub revues. This was the era that produced The New Yorker, Don Marquis, Dorothy Parker, and E.B. White--and Furia places the lyrics firmly in this fascinating historical context. In these pages, the lyrics emerge as an imporant element of American modernism, as the lyricists, like the great modernist poets, took the American vernacular and made it sing.

In Ira Gershwin: The Art of the Lyricist, the older and less flamboyant of the Gershwin brothers at last steps out of the shadows to claim his due as one of American songwriting's most important and enduring innovators. Philip Furia traces the development of Ira Gershwin's lyrical art from his early love of light verse and Gilbert and Sullivan, through his apprentice work in Tin Pan Alley, to his emergence as a prominent writer during the golden era of Broadway and Hollywood musicals. He reveals how Gershwin took the everyday speech of ordinary Americans and made it sing.

From the turn of the century to the 1960s, the songwriters of Tin Pan Alley were synonymous with American popular music. Irving Berlin, Cole Porter, George and Ira Gershwin, Rodgers and Hart-even today these giants remain household names, their musicals regularly revived, their methods and styles analyzed and imitated, and their songs the bedrock of jazz and cabaret. In this new edition of The Poets of Tin Pan Alley, authors Philip Furia and Laurie Patterson offer a unique perspective on these great songwriters, showing how their poetic lyrics were as important as their brilliant music in shaping a golden age of American popular song. Furia and Patterson continue the tradition of great perception and understanding established in the first edition as they explore the deft rhymes, inventive imagery, and witty solutions these songwriters used to breathe new life into rigidly established genres. They devote full chapters to such greats as Irving Berlin, Lorenz Hart, Ira Gershwin, Cole Porter, Oscar Hammerstain II, Howard Dietz, E.Y. Harburg, Dorothy Fields, Leo Robin, and Johnny Mercer. They also offer a comprehensive survey of other lyricists who wrote for the sheet-music industry, Broadway, Hollywood, and Harlem nightclub revues. This was the era that produced The New Yorker, Don Marquis, Dorothy Parker, and E.B. White-and the book places Tin Pan Alley lyrics firmly in this fascinating historical context. In these pages, the lyrics emerge as an important element of American modernism, as the lyricists, like the great modernist poets, took the American vernacular and made it sing.