Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris, and Vienna

Contents

• Introduction
• Part 1: The Social Context of the Popular Music Revolution
• 1 Professionalism and Commercialism
• Concerts and Music Halls
• The Sheet Music Trade
• The Piano Trade
• Copyright and Performing Right
• The Star System
• 2 New Markets for Cultural Goods
• Entrepreneurship
• Promenade Concerts
• Dance Music
• Music Hall and Cafe-Concert
• Blackface Minstrelsy, Black Musicals, and Vaudeville
• Operetta
• 3 Music, Morals, and Social Order
• 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
• Light Music vs. Serious Music
• Art, Taste, and Status
• Opera vs. Operetta
• Folk Music: Edification for the Uncritical
• Part 2: Studies of Revolutionary Popular Genres
• 5 A Revolution on the Dance Floor, a Revolution in Musical Style
• The Viennese Waltz, 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
• Seeking the Black Beneath the Blackface
• England's Pre-eminent Troupes
• Black Troupes
• Minstrel Contradictions
• The Minstrel Legacy
• 7 The Music Hall Cockney: Flesh and Blood, or Replicant?
• Phase 1: Parody
• Phase 2: The Character-Type
• Phase 3: The Imagined Rea
• 8 No Smoke Without Water: The Incoherent Message of Montmartre Cabaret
• The Chat Noir and Aristide Bruant
• Other Cabaret Artists
• Yvette Guilbert
• The Proliferation of Artistic Cabarets
• Cabaret and the Avant-Garde
• Notes
• Bibliography/Index