Keyboard Recording, n°273 (mai 2012)

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Like many Jewish immigrants U 24 r o c k in ’ o ut Irving Berlin lived to be 101 years old and became one of the most prolific songwriters of the twentieth century. ­Because he could play piano in only one key, he compensated by using a piano with a moveable keyboard that could transpose into other keys. ”24 Two years later, Berlin landed his first Tin Pan Alley job. There, he wrote classics such as “A Pretty Girl Is Like a Melody” (1919), “Puttin’ on the Ritz” (1929), “Easter Parade” (1933), and “God Bless America” (1939), which captured the hearts and minds of generations and made Berlin a household name.

As a visionary corporate executive, Sarnoff was immersed in the public service aspects of the medium. He viewed radio as an “electronic library” that brought useful information, ortunately for popular music, advertisers uplifting literature, and tasteful music into the home. (Of course, as like Paley, who catered to “vulgar” popular an equally good businessman, he was not oblivious to the fact that tastes as a matter of necessity, ended up such services would sell millions of the radio receivers his complaying the major role in determining the course of radio programming.

In 1912, four blues compositions were published: Chris Smith and Tim Brymn’s simply titled “The Blues” came first, followed by Hart Wand’s “Dallas Blues,” Arthur Seals’s “Baby Seals’ Blues,” and “Memphis Blues” by W. C. Handy. 34 There has been considerable debate about whether such compositions fit the strict definition of the blues. In 1959, blues historian Samuel Charters took the narrow view: “Both Handy and Arthur Seals were Negroes, but the music that they titled ‘blues’ is more or less derived from the standard popular musical styles of the ‘coon song’ and ‘cake walk’ type.

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