1
Before the jazz age: professional musicians
and good music

We often hear complaints from musicians, especially band and orchestral, that they do not receive as much consideration and respect from the public as men of similar social status, but in other trades or professions… The musician, who is worthy the name, devotes his time unremittingly to his art, hence slander, or misapprehension, goes on unrefuted, so far as he is concerned. He is generally a man of a speculative turn of mind, dwelling apart, in realms of fancy, from the hurry-scurry of the world, apt to be sensitive and feel slights easily, but withal a good, honest citizen, who attends to his own business; and does not interfere with that of his neighbor … let some of those gentlemen who despise the musician, or who think his calling is an easy one, take a violin, or any other instrument in hand for a moment, try the most simple tune, or endeavor to play a common scale, then give their opinion… For the unremitting toil of the musical career, as well as for the social qualities of the musician, we claim that true musicians are worthy of the highest respect and consideration.

Editorial, Metronome, May 1885: 4

The first issue of Metronome was published in January 1885 and quickly established itself as a major national magazine for professional musicians in the United States. The Carl Fischer Company, a supplier of musical instruments and music sheets, published this “ad sheet” in New York City. Metronome remained a major magazine for professional musicians for 75 years, charting the rise and fall of the professional musician in American popular music until finally ending publication in 1961. As the editorial in May 1885 suggests, professional musicians in the late nineteenth century felt unappreciated as respectable professional artists. They also felt less than respected as tradesmen working to secure a livable wage. As professionals and tradesmen these musicians also would confront the question of the place of “good” music in popular performance.

The growth of a professional class of musician in the United States centered on the bands and orchestras that performed in cities across the country in the nineteenth century. These bands and orchestras were based on their European equivalents and borrowed their instrumental

-11-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The Rise of a Jazz Art World
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 294

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.