Four Parts, No Waiting: A Social History of American Barbershop Harmony (American Musicspheres)

Four Parts, No Waiting investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. Starting with a discussion of the first craze for Austrian four-part close harmony in the 1830s, Averill traces the popularity of this musical form in minstrel shows, black recreational singing, vaudeville, early recordings, and in the barbershop revival of the 1930s. In his exploration of barbershop, Averill uncovers a rich musical tradition--a hybrid of black and white cultural forms, practiced by amateurs, and part of a mythologized vision of small-town American life. Barbershop harmony played a central -- and overlooked -- role in the panorama of American music. Averill demonstrates that the barbershop revival was part of a depression-era neo-Victorian revival, spurred on by insecurities of economic and social change. Contemporary barbershop singing turns this nostalgic vision into lived experience. Arguing that the "old songs" function as repositories of idealized social memory, Averill reveals ideologies of gender, race, and class. This engagingly-written, often funny book critiques the nostalgic myths (especially racial myths) that have surrounded the barbershop revival, but also celebrates the civic-minded, participatory spirit of barbershop harmony. The contents of the CD have been replaced by a companion website with helpful links, resources, and audio examples. Four Parts, No Waiting Investigates The Role That Vernacular, Barbershop-style Close Harmony Has Played In American Musical History, In American Life, And In The American Imagination. Starting With A Discussion Of The First Craze For Austrian Four-part Close Harmony In The 1830s, Averill Traces The Popularity Of This Musical Form In Minstrel Shows, Black Recreational Singing, Vaudeville, Early Recordings, And In The Barbershop Revival Of The 1930s. In His Exploration Of Barbershop, Averill Uncovers A Rich Musical Tradition--a Hybrid Of Black And White Cultural Forms, Practiced By Amateurs, And Part Of A Mythologized Vision Of Small-town American Life. Barbershop Harmony Played A Central -- And Overlooked -- Role In The Panorama Of American Music. Averill Demonstrates That The Barbershop Revival Was Part Of A Depression-era Neo-victorian Revival, Spurred On By Insecurities Of Economic And Social Change. Contemporary Barbershop Singing Turns This Nostalgic Vision Into Lived Experience. Arguing That The Old Songs Function As Repositories Of Idealized Social Memory, Averill Reveals Ideologies Of Gender, Race, And Class. This Engagingly-written, Often Funny Book Critiques The Nostalgic Myths (especially Racial Myths) That Have Surrounded The Barbershop Revival, But Also Celebrates The Civic-minded, Participatory Spirit Of Barbershop Harmony. Excelsior / New Hutchinson Family Singers -- Keep Movin / Standard Quartette -- Farmyard Medley / Haydn Quartet -- Sidewalks Of New York / Haydn Quartet ; By James W. Blake And Charles B. Lawlor -- By The Light Of The Silvery Moon / Billy Murray And Hayden Quartet ; By Gus Edwards And Edward Madden -- Watermelon Party / Polk Miller And His Old South Quartette -- I Want A Girl / Columbia Quartette ; By William Dillon And Harry Von Tilzer -- Oh, You Beautiful Doll / American Quartet ; By Nat D. Ayer And A. Seymour Brown -- Cornfield Medley / Henry Burr And The Peerless Quartet -- You're The Flower Of My Heart, Sweet Adeline / Columbia Stellar Quartette ; Harry Armstrong And Richard Gerard -- Beautiful Isle Of Somewhere / Henry Burr And The Peerless Quartet ; By Jessie Brown Pounds And John Sylvester Fearis My Mammy / Peerless Quartet By Walter Donaldson -- Let Me Call You Sweetheart / The Shannon Quartet ; By Leo Friedman And Beth S. Whitson -- Sweet Mama / The Southern Negro Quartet -- Pullman Passenger Train ; Pullman Porters Quartet -- Yaaka Hula Hickery Dula / The Avon Comedy Four -- Medley / Bartlesville Barflies -- Annie Laurie / Flatfoot Four -- Goodbye, Old Dixie, Goodbye (medley) / Buffalo Bills ; Arranged By Phil Embury -- Hello! My Baby / Second Edition ; Ida Emerson And Joe Howard -- Pal Of My Cradle Days / Rich-tone Chorus ; Al Piantadosi -- I Love To Hear That Old Barberhop Style / Fanatix ; Words And Music By Einar Pedersen. Gage Averill. Includes Bibliographical References (p. 211-218) And Index. "Four Parts, No Waiting explores the role that vernacular, barbershop-style close harmony has played in American musical history, American life, and the American imagination. In his research into barbershop harmony, Gage Averill has uncovered both a rich musical tradition - a hybrid of African American and European cultural forms - and an integral feature of the mythologized vision of small-town American life." "In addition to recounting barbershop's history and its many social dramas over race and gender, Averill explores today's barbershop community, taking his readers along to competitions and post performance "afterglow" sessions with the Society for the Preservation and Encouragement of Barber Shop Quarter Singing in America (or SPEBSQSA)."--Jacket Frontmatter Introduction: Past Perfect (page 3) 1. A Little Close Harmony: A Medley of Nineteenth-Century Harmony (page 21) 2. The Golden Era: Quartets in Show Business and the Music Industry (page 49) 3. The Lost Chords: The Early Barbershop Revival (page 87) 4. On Main Street, U.S.A. (page 115) 5. Romancing the Tone: Song, Sound, and Significance in Barbershop Harmony (page 153) Conclusion: Afterglow (page 179) Notes (page 183) Glossary (page 205) Bibliography (page 211) Index (page 219) Contents of the Companion Website www.oup.com/us/fourpartsnowaiting (page 229) "'Four Parts, No Waiting' investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. Averill traces the popularity of this musical form from the U.S. tours of Austrian Alpine harmony singers, to minstrel shows, black recreational singing, vaudeville, early recordings, and in the barbershop revival of the 1930s." -- Page [4] of cover love artist, did as much as anything else to help establish the look and feel of barbershop revival practices for the early revival and for succeeding generations.