New publications: Kern and Gershwin songs; polkas after 1860

I have published four new essays on the Texas ScholarWorks platform.

These two are bundled under one heading:  Alternate cadences in recordings of "All the Things You Are" and "Embraceable You"

Abstract:

Some cadences in European and European-influenced tonal music show a contradiction in direction between registral stasis and linear movement, an example being alternative endings written into a song by Jerome Kern. The topic is explored through analysis of 51 recorded performances. In addition, a registrally complex cadence in Gershwin’s “Embraceable You” is surveyed through 44 recordings.

Ascending Cadence Gestures, A New Historical Survey, Part 4b2: 1780-1860, Polkas (2)

Abstract:

This essay supplements the Historical Survey Part 4b, which covered ascending cadence gestures in polkas between 1840 and 1861. Most items come from the Library of Congress collection Music for the Nation: American Sheet Music, ca. 1820 to 1860.

Ascending Cadence Gestures, A New Historical Survey, Part 5d2: 1860-1900, Polkas

Abstract:

This essay continues from the Historical Survey Parts 4b & 4b2, which covered polkas between 1840 and 1861, to document ascending cadence gestures in more than fifty polkas after that, to c. 1890. Composers represented, among many others, are Gonzaga, Kéler, Johann Strauss, jr., Sullivan, and Ziehrer. An appendix discusses the Clarinet Polka and Modřanská Polka (“Beer Barrel Polka”).

Michael Buchler on "Take Me Out to the Ballgame."

SMT-V is the peer-reviewed video journal of the Society for Music Theory. In the newly released issue 7.4, Michael Buchler reveals the aspirational side to Tin Pan Alley in "I Don’t Care if I Never Get Back: Optimism and Ascent in 'Take Me Out to the Ball Game'.” Link to SMT-V.

Here is the abstract:

The chorus of “Take Me Out To The Ball Game” (Von Tilzer and Norworth, 1908) is familiar to anyone who has attended baseball games in North America. However, relatively few people are aware that there is an introductory verse that poetically and contrapuntally motivates and anticipates the well-known chorus. This video article demonstrates some relationships between the verse and chorus and also challenges an earlier analysis that views this song through the lens of common-practice melodic norms.

In the film, Michael mentions statements I have made about rising and upper-register cadences as being common in 19th century operetta and its descendants in 20th century musicals. Here are some essays where I discuss that topic:

Offenbach, Rising Melodic Gestures in La belle Hélène (1864). See the Introduction, section "Historical note on ascending cadence gestures" (p. 5). Link.

Offenbach, Rising Melodic Gestures in Orphée aux Enfers (1858; rev. 1874). Link.

Offenbach, Two One-act Operettas: Les deux aveugles (1855) and Pomme d’Api (1873). Link.

Johann Strauss, jr., Die Fledermaus: Ascending Cadence Gestures on Stage. Link.

On Ascending Cadence Gestures in Adolphe Adam's Le Châlet (1834). Link.

A Gallery of Simple Examples of Extended Rising Melodic Shapes, Volume 2. Section on Victor Herbert.  Link.

Addendum to the Historical Survey, with an Index. Section on Tin Pan Alley and Broadway. Link.