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46-456: A pallavi is a refrain in carnatic music . It is the first part of any formal composition ( Krithi ) which has three segments – Pallavi, Anupallavi and Charanam (which can be one or more). Pallavi is usually also an abbreviation of Ragam Thanam Pallavi . It is considered as the opening verse of Varnam. Pallavi in Sanskrit is used as an adjective or a verb with appropriate suffix to denote

92-481: A derry down O encountered in some English folksongs is in fact an ancient Celtic phrase meaning "dance around the oak tree." These suggestions remain controversial. There are two distinct uses of the word "chorus". In the thirty-two bar song form that was most common in the earlier twentieth-century popular music (especially the Tin Pan Alley tradition), "chorus" referred to the entire main section of

138-537: A large amount of airtime, it was imperative that the writing be consistent with the war message that the radio was carrying throughout the nation. In her book, God Bless America: Tin Pan Alley Goes to War , Kathleen E. R. Smith writes that "escapism seemed to be a high priority for music listeners", leading "the composers of Tin Pan Alley [to struggle] to write a war song that would appeal both to civilians and

184-511: A recurring line of identical text and melody which is part of a formal section—an A section in an AABA form (as in " I Got Rhythm ": "...who could ask for anything more?") or a verse (as in " Blowin' in the Wind ": "...the answer my friend is blowing in the wind")—whereas 'chorus' shall refer to a discrete form part (as in " Yellow Submarine ": "We all live in a..."). According to the musicologists Ralf von Appen and Markus Frei-Hauenschild In German,

230-548: A refrain mid-verse: There lived a lady by the North Sea shore, Two daughters were the babes she bore. As one grew bright as is the sun, So coal black grew the other one. (Note: the refrain of "Lay the bent to the bonny broom" is not traditionally associated with the ballad of "The Cruel Sister" ( Child #10). This was the work of 'pop-folk' group Pentangle on their 1970 LP Cruel Sister which has subsequently been picked up by many folk singers as being traditional. Both

276-477: A single iteration of the entire 32 bars of the AABA form, especially among jazz musicians, who improvise over multiple repetitions of such choruses." In jazz, an arranger's chorus is where the arranger uses particularly elaborate techniques to exhibit their skill and to impress the listener. This may include use of counterpoint , reharmonization , tone color , or any other arranging device. The arranger's chorus

322-475: A small and tender red-coloured leaf of a plant or a tendril. This article about the music of India is a stub . You can help Misplaced Pages by expanding it . Refrain In popular music, the refrain or chorus may contrast with the verse melodically , rhythmically , and harmonically ; it may assume a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form ,

368-481: A specific location on West 28th Street, between Fifth and Sixth Avenues in the Flower District of Manhattan , as commemorated by a plaque on 28th Street between Broadway and Sixth. Several buildings on Tin Pan Alley are protected as New York City designated landmarks , and the section of 28th Street from Fifth to Sixth Avenue is also officially co-named Tin Pan Alley. The start of Tin Pan Alley

414-403: A steady stream of songwriters, vaudeville and Broadway performers, musicians, and " song pluggers " coming and going. Aspiring songwriters came to demonstrate tunes they hoped to sell. When tunes were purchased from unknowns with no previous hits, the name of someone with the firm was often added as co-composer (in order to keep a higher percentage of royalties within the firm), or all rights to

460-480: A tune became a significant local hit, rights to it were usually purchased from the local publisher by one of the big New York firms. Beginning in the early 1860s, the pianist and composer J.N. Pattison (active 1862-1890) published sheet music out of a piano and organ salesroom in Union Square in downtown Manhattan. He was one of the only musicians or composers to publish his own sheet music , capitalizing on

506-459: Is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly. Although repeats of refrains may use different words, refrains are made recognizable by reusing the same melody (when sung as music) and by preserving any rhymes . For example, " The Star-Spangled Banner " contains a refrain which is introduced by a different phrase in each verse, but which always ends: O'er

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552-579: Is generally not the first or the last chorus of a jazz performance. In jazz, a shout chorus (occasionally: out chorus ) is usually the last chorus of a big band arrangement, and is characterized by being the most energetic, lively, and exciting and by containing the musical climax of the piece. A shout chorus characteristically employs extreme ranges , loud dynamics , and a re-arrangement of melodic motives into short, accented riffs. Shout choruses often feature tutti or concerted writing, but may also use contrapuntal writing or call and response between

598-563: Is repeated in every iteration. In this usage, the refrain does not constitute a discrete, independent section within the form. Many Tin-Pan Alley songs using thirty-two bar form are central to the traditional jazz repertoire. In jazz arrangements the word "chorus" refers to the same unit of music as in the Tin Pan Alley tradition, but unlike the Tin Pan Alley tradition a single song can have more than one chorus. Von Appen and Frei-Hauenschild explain, "The term, 'chorus' can also refer to

644-469: Is usually dated to about 1885, when a number of music publishers set up shop in the same district of Manhattan. The end of Tin Pan Alley is less clear cut. Some date it to the start of the Great Depression in the 1930s when the phonograph , radio, and motion pictures supplanted sheet music as the driving force of American popular music, while others consider Tin Pan Alley to have continued into

690-530: The International Copyright Act of 1891 . The American Society of Composers, Authors, and Publishers (ASCAP) was founded in 1914 to aid and protect the interests of established publishers and composers. New members were only admitted with sponsorship of existing members. The term and established business methodologies associated with Tin Pan Alley persisted into the 1960s when artists like Bob Dylan helped establish new norms. Referring to

736-643: The brass and saxophones , or between the ensemble and the drummer . Additionally, brass players frequently use extended techniques such as falls, doits, turns, and shakes to add excitement. Tin Pan Alley Tin Pan Alley was a collection of music publishers and songwriters in New York City that dominated the popular music of the United States in the late 19th and early 20th centuries. Originally, it referred to

782-564: The 1950s when earlier styles of music were upstaged by the rise of rock & roll , which was centered on the Brill Building . Brill Building songwriter Neil Sedaka described his employer as being a natural outgrowth of Tin Pan Alley, in that the older songwriters were still employed in Tin Pan Alley firms while younger songwriters such as Sedaka found work at the Brill Building. There are conflicting explanations regarding

828-643: The Music Publishers Association of the United States on June 11, 1895, and unsuccessfully lobbied the federal government in favor of the Treloar Copyright Bill , which would have changed the term of copyright for published music from 24 to 40 years, renewable for an additional 20 instead of 14 years. The bill, if enacted, would also have included music among the subject matter covered by the Manufacturing clause of

874-550: The United Kingdom, where "Tin Pan Alley" was also used to describe Denmark Street in London's West End . In the 1920s the street became known as "Britain's Tin Pan Alley" because of its large number of music shops. In the mid-19th century, copyright control of melodies was not as strict, and publishers would often print their own versions of the songs popular at the time. With stronger copyright protection laws late in

920-773: The armed forces". By the end of the war, no such song had been produced that could rival hits like "Over There" from World War I. Whether or not the number of songs circulated from Tin Pan Alley between 1939 and 1945 was greater than during the First World War is still debated. In his book The Songs That Fought the War: Popular Music and the Home Front , John Bush Jones cites Jeffrey C. Livingstone as claiming that Tin Pan Alley released more songs during World War I than it did in World War II. Jones, on

966-643: The boom in that medium as America emerged out of the Civil War , and urban middle classes grew. Piano ownership was widespread in middle-class families, and if one wanted to hear a popular new song or melody, one would buy the sheet music and then perform the piece at home. The song publishers who created Tin Pan Alley frequently had backgrounds as salesmen. Isadore Witmark previously sold water filters and Leo Feist had sold corsets. Joe Stern and Edward B. Marks had sold neckties and buttons, respectively. The music houses in lower Manhattan were lively places, with

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1012-491: The century, songwriters, composers, lyricists, and publishers started working together for their mutual financial benefit. Songwriters would bang on the doors of Tin Pan Alley businesses to get new material. The commercial center of the popular music publishing industry changed during the course of the 19th century, starting in Boston and moving to Philadelphia , Chicago and Cincinnati before settling in New York City under

1058-584: The dominant conventions of music publishers of the early 20th century, "Tin Pan Alley is gone", Dylan proclaimed in 1985, "I put an end to it. People can record their own songs now." During the Second World War , Tin Pan Alley and the federal government teamed up to produce a war song that would inspire the American public to support the fight against the Axis, something they both "seemed to believe ...

1104-568: The entertainment district gradually shifted uptown , and by the late 1890s most publishers had followed their lead. The biggest music houses established themselves in New York City, but small local publishers – often connected with commercial printers or music stores – continued to flourish throughout the country, and there were important regional music publishing centers in Chicago, New Orleans , St. Louis , and Boston . When

1150-580: The heart's desire: All Love's lordship lay between, A sheen on the breasts I Love. O Troy's down, Tall Troy's on fire! . . . Phrases of apparent nonsense in refrains ( Lay the bent to the bonny broom? ), and syllables such as fa la la , familiar from the Christmas carol " Deck the Halls with Boughs of Holly", have given rise to much speculation. Some believe that the traditional refrain Hob

1196-446: The influence of new and vigorous publishers which concentrated on vocal music. The two most enterprising New York publishers were Willis Woodard and T.B. Harms , the first companies to specialize in popular songs rather than hymns or classical music . Naturally, these firms were located in the entertainment district, which, at the time, was centered on Union Square . Witmark was the first publishing house to move to West 28th Street as

1242-491: The land of the free, and the home of the brave. A similar refrain is found in the " Battle Hymn of the Republic ", which affirms in successive verses that "Our God", or "His Truth", is "marching on." Refrains usually, but not always, come at the end of the verse. Some songs, especially ballads , incorporate refrains (or burdens ) into each verse. For example, one version of the traditional ballad " The Cruel Sister " includes

1288-611: The melody and the refrain come from the ballad known as " Riddles Wisely Expounded " (Child #1). ) Here, the refrain is syntactically independent of the narrative poem in the song, and has no obvious relationship to its subject, and indeed little inherent meaning at all. The device can also convey material which relates to the subject of the poem. Such a refrain is found in Dante Gabriel Rossetti 's "Troy Town": Heavenborn Helen, Sparta's queen, O Troy Town! Had two breasts of heavenly sheen, The sun and moon of

1334-586: The most popular and resonant patriotic song associated with World War I. Due to the large fan base of Tin Pan Alley, the government believed that this sector of the music business would be far-reaching in spreading patriotic sentiments. In the United States Congress, congressmen quarreled over a proposal to exempt musicians and other entertainers from the draft in order to remain in the country to boost morale. Stateside, these artists and performers were continuously using available media to promote

1380-507: The name was firmly attached by the fall of 1908, when The Hampton Magazine published an article titled "Tin Pan Alley" about 28th Street. According to the Online Etymology Dictionary , "tin pan" was slang for "a decrepit piano" (1882), and the term came to mean a "hit song writing business" by 1907. With time, the nickname came to describe the American music publishing industry in general. The term then spread to

1426-469: The newly popular styles of the cakewalk and ragtime music . Later, jazz and blues were incorporated, although less completely, as Tin Pan Alley was oriented towards producing songs that amateur singers or small town bands could perform from printed music. In the 1910s and 1920s Tin Pan Alley published pop songs and dance numbers created in newly popular jazz and blues styles. Tin Pan Alley also acted as another approach to modernism . This can be seen in

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1472-469: The origins of the term "Tin Pan Alley". The most popular account holds that it was originally a derogatory reference made by Monroe H. Rosenfeld in the New York Herald to the collective sound made by many "cheap upright pianos" all playing different tunes being reminiscent of the banging of tin pans in an alleyway. The Grove Dictionary of American Music also cites Rosenfeld as originator of

1518-519: The other hand, argues that "there is also strong documentary evidence that the output of American war-related songs during World War II was most probably unsurpassed in any other war". Tin Pan Alley composers and lyricists include: Tin Pan Alley's biggest hits included: In 2019, the New York City Landmarks Preservation Commission took up the question of preserving five buildings on the north side of

1564-459: The song (which was in a thirty-two bar AABA form). Beginning in the rock music of the 1950s, another form became more common in commercial pop music, which was based in an open-ended cycle of verses instead of a fixed 32-bar form. In this form (which is more common than thirty-two bar form in later-twentieth century pop music), "choruses" with fixed lyrics are alternated with "verses" in which the lyrics are different with each repetition. In this use of

1610-459: The song were purchased outright for a flat fee (including rights to put someone else's name on the sheet music as the composer). Many Jewish immigrants became music publishers and songwriters on Tin Pan Alley. Among the songwriters who frequented Tin Pan Alley were Harold Arlen , Irving Berlin , George M. Cohan , Dorothy Fields , Scott Joplin , and Fats Waller . Songwriters who became established producers of successful songs were hired to be on

1656-501: The song. They couldn't help it." When vaudeville performers played New York City, they would often visit various Tin Pan Alley firms to find new songs for their acts. Second- and third-rate performers often paid for rights to use a new song, while famous stars were given free copies of publisher's new numbers or were paid to perform them, the publishers knowing this was valuable advertising. Initially Tin Pan Alley specialized in melodramatic ballads and comic novelty songs, but it embraced

1702-493: The staff of the music houses. "Song pluggers" were pianists and singers who represented the music publishers, making their living demonstrating songs to promote sales of sheet music. Most music stores had song pluggers on staff. Other pluggers were employed by the publishers to travel and familiarize the public with their new publications. Among the ranks of song pluggers were George Gershwin , Harry Warren , Vincent Youmans and Al Sherman . A more aggressive form of song plugging

1748-682: The street as a Tin Pan Alley Historic District. The agency designated five buildings (47–55 West 28th Street) individual landmarks on December 10, 2019, after a concerted effort by the "Save Tin Pan Alley" initiative of the 29th Street Neighborhood Association. Following successful protection of these landmarks, project director George Calderaro and other proponents formed the Tin Pan Alley American Popular Music Project. On April 2, 2022, 28th Street between Broadway and 6th Avenue

1794-455: The term, "Refrain," is used synonymously with "chorus" when referring to a chorus within the verse/chorus form. At least one English-language author, Richard Middleton, uses the term in the same way. In English usage, however, the term, »refrain« typically refers to what in German is more precisely called the »Refrainzeile« (refrain line): a lyric at the beginning or end of a section that

1840-469: The term, dating its first use from 1903. However, whilst an article on Tin Pan Alley can be found in the St. Louis Post-Dispatch from May of that year, this is unattributed and no piece by Rosenfeld that employs the phrase has been discovered. Simon Napier-Bell quotes an account of the origin of the name published in a 1930 book about the music business. In this version, popular songwriter Harry von Tilzer

1886-416: The use of certain influences such as, "a vernacular African-American impact coming from ragtime, 'coon' songs, the blues and jazz", as well as "input from high and middlebrow white culture". Many of these new styles were used to help fuel the economy of Tin Pan Alley, allowing composers to be more creative, as well as have a continuous influx of innovative music. A group of Tin Pan Alley music houses formed

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1932-427: The war effort and to demonstrate a commitment to victory. However, the proposal was contested by those who strongly believed that only those who provided more substantial contributions to the war effort should benefit from draft exemption. As the war progressed, those in charge of writing the would-be national war song began to understand that the interest of the public lay elsewhere. Since the music would take up such

1978-408: The word, chorus contrasts with the verse, which usually has a sense of leading up to the chorus. "Many popular songs, particularly from early in this century, are in a verse and a chorus ( refrain ) form. Most popular songs from the middle of the century consist only of a chorus." While the terms 'refrain' and 'chorus' often are used synonymously, it has been suggested to use 'refrain' exclusively for

2024-417: Was being interviewed about the area around 28th Street and Fifth Avenue, where many music publishers had offices. Von Tilzer had modified his expensive Kindler & Collins piano by placing strips of paper down the strings to give the instrument a more percussive sound. The journalist told von Tilzer, "Your Kindler & Collins sounds exactly like a tin can. I'll call the article 'Tin Pan Alley'." In any case,

2070-490: Was known as "booming": it meant buying dozens of tickets for shows, infiltrating the audience and then singing the song to be plugged. At Shapiro, Bernstein & Co. , Louis Bernstein recalled taking his plugging crew to cycle races at Madison Square Garden : "They had 20,000 people there, we had a pianist and a singer with a large horn. We'd sing a song to them thirty times a night. They'd cheer and yell, and we kept pounding away at them. When people walked out, they'd be singing

2116-427: Was vital to the war effort". The Office of War Information was in charge of this project, and believed that Tin Pan Alley contained "a reservoir of talent and competence capable of influencing people's feelings and opinions" that it "might be capable of even greater influence during wartime than that of George M. Cohan's ' Over There ' during World War I." In the United States, the song "Over There" has been said to be

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