Daniel Francis Noel O'Donnell is an Irish singer, television presenter and philanthropist. After rising to public attention in 1983 he has since become a household name in Ireland and Britain. In 2012, he became the first artist to have a different album in the British charts every year for 25 consecutive years. Known for his close relationship with his fanbase, his charismatic and engaging stage presence, O'Donnell's music has been described as a mix of country and Irish folk, he has sold over ten million records to date, he is considered a "cultural icon" in Ireland, is parodied in the media. Affectionately known as "Wee Daniel", O'Donnell is a prominent ambassador for his home county of Donegal. O'Donnell was born in and brought up in the village of Kincasslagh, in The Rosses district in the west of County Donegal in Ulster, he grew up as the youngest of a Roman Catholic family, with his parents and Francis O'Donnell, siblings John, Margaret and James. He has described his upbringing as happy, with the exception of the death of his father after a heart attack when O'Donnell was six years old.
During his school years, O'Donnell considered pursuing a career in banking. Despite this, a career in music was always a possibility; as a youngster, O'Donnell performed in the local religious choir. In 1980, he went to Galway to pursue business studies, however, he never settled down and by Christmas he was in his sister Margo's band. Margo had forged a successful career in Ireland. Not getting enough opportunities to perform solos with the band, in 1983 O'Donnell decided to record his own record. On 9 February 1983, he recorded his first single, Johnny McCauley's "My Donegal Shore", with £1,200 of his own money, selling all the copies himself; that year, he formed his own musical group, Country Fever. After the group disbanded, he formed The Grassroots. In 1985, the manager of the Ritz label, Mick Clerkin, saw him perform and introduced him to Sean Reilly, who remains as his manager to this day. Under the management of Reilly, O'Donnell started to sell concerts out in England on a regular basis.
According to O'Donnell, by January 1992, he had hit rock bottom with exhaustion. After a three-month recovery break, he returned to the stage, this time at the Point Theatre, Dublin. By the mid-1990s, O'Donnell had become a household name across Great Britain, he won various awards. Among the accolades, O'Donnell was named Donegal Person of the Year in 1989, which he still rates as the best award, he was given the Irish Entertainer of the Year award in 1989, 1992 and 1996. O'Donnell's first chart hit single in the UK was in 1992 with "I Just Want to Dance With You"; this led to his first-ever appearance on Top of the Pops. During his lengthy career, O'Donnell has made friends with his childhood idols, including Cliff Richard and Loretta Lynn, he forged a close professional relationship with the Irish songstress Mary Duff, who tours with O'Donnell. In 2002, he was awarded an Honorary MBE for his services to the music industry, he has had twenty UK Top 40 albums as well as fifteen Top 40 singles and has sold 10 million records to date.
O'Donnell garnered considerable success in North America, when he starred in seven concert specials on public television stations in the United States. He has charted 18 albums in the Top 20 of the U. S. Billboard's World Music Album Chart and has had several entries in the Independent Albums Chart too, he was afforded Daniel at 50, in 2011 to mark his 50th birthday. In 2015, O'Donnell became the first artist to have charted at least one new album in the UK charts for 28 consecutive years, when his latest album The Hank Williams Songbook entered the UK Artist Albums Chart at number 5. A Daniel O'Donnell Visitors' Centre was opened in Dungloe in May, 2012, which displays all his gold discs and wedding suit. In Autumn 2015, he appeared on Strictly Come Dancing, he was eliminated third. In October 2015, Daniel and his wife Majella starred in the first series of their TV programme Daniel and Majella's B&B Road Trip; that series aired on UTV but moved to RTÉ in 2016. O'Donnell was married, aged 40, on 4 November 2002, to 41-year-old divorcée Majella McLennan from Thurles, whom he met on holiday in Tenerife three years previously.
McLennan received an annulment of her previous marriage. The couple live in Meenbanad, County Donegal, spend time at their second home in Tenerife. Daniel is proficient in Irish and presented a show in that language for the broadcaster TG4. O'Donnell has a step-granddaughter, his wife's granddaughter, he has a step grandson named Archie. O'Donnell has been involved in many charitable causes for many years, most notably in Romania, he has championed the Romanian Challenge Appeal, a charity that helps orphaned Romanian children re-establish themselves within society. He was involved in urging Irish families to home these young people in Ireland for a period. O'Donnell is arguably better known for his gentle, soft-spoken personality and clean-cut image, than for his music. Over the years he has attracted vast media attention and there have been many cultural references to the performer. O'Donnell is satirised in Irish and British comedy because of a common supposition that his audience consists of older women.
He was parodied as celebrity singer "Eoin McLove" in the Father Ted episode "Night of the
M. Witmark & Sons
M. Witmark & Sons was a leading publisher of sheet music for the United States "Tin Pan Alley" music industry; the firm of Marcus Witmark & Sons was established in New York City in 1886. The father, Marcus Witmark, was the legal head of the company, they started out publishing their own compositions. They were adept at plugging songs, within a few years were publishing the works of such composers as Victor Herbert, George M. Cohan, Ben Harney and John Walter Bratton. Witmark originated the practice of giving free "professional copies" of their new music to famous and established singers and bands, which proved so successful an advertising method that it was copied by the rest of the music publishers; when the International Copyright Law was passed in 1891, Witmark pioneered publishing versions of British music in the United States and arranging for American hits to be published in the UK. Tams-Witmark In 1922, Sargent Aborn, brother of Milton Aborn, both of the Aborn Opera Company, acquired the Arthur W. Tams music library, a collection that had become the largest circulating music library in the world — and by extension, Witmark's biggest competitor in the music-rental field.
In January of 1925, M. Witmark & Sons acquired the music Tams library, ending 30 years of intense rivalry; the combined Tams-Witmark library, operating as the Tam-Witmark Music Library Inc. secured its position as the largest source of musical-comedy and operatic music for amateur and professional productions. Sargent Aborn was president of Tams-Witmark from its founding until his death in 1957. In 1942, Sargent Aborn and his son, Louis Henry Aborn, acquired the rights to the Tams Library; as of 2014, the co-chairmen were Robert Aborn Hut and Sargent Louis Aborn and the executive vice-president was Peter Aborn Hut. All three are grandchildren of Sargent Aborn. Tams-Witmark was acquired by Concord Music Company in 2018. In the 1960s, Tams-Witmark donated several lots of its old inventory to the special collections of 5 libraries known for music research: the Library of Congress, the Eastman School of Music, Westminster Choir College, the largest part of its inventory to the University of Wisconsin–Madison, through the initiative of the Wisconsin Center for Film and Theater Research and the School of Music.
The consolidation of Tams and Witmark affected operatic music and musical theatre. It did not affect the separate concern of M. Witmark & Sons, music publishers, who continued publishing popular and classical music. Warner Bros. In 1929, M. Witmark was purchased by Warner Bros. Warner Bros. merged its music publishing companies into Warner Bros.. Music. Alfred Music In 2005, Alfred Music purchased Warner Bros. Publications — acquiring the rights to Warner/Chappell Music, Inc. and the EMI Catalogue Partnership. Through this deal, Alfred Music gained the print rights of publishers that include M. Witmark & Sons, Remick Music Corp. and T. B. Harms, Inc. Among the EMI holdings are the Robbins and Leo Feist catalogs, plus film music from United Artists, MGM, 20th Century Fox. American popular music Tams-WitmarkCompetitor music publishing firms in Tin Pan Alley Leo Feist, Inc. – 231 W 40th St, New York, NY T. B. Harms & Francis, Day & Hunter, Inc. – 62 W. 45th St. New York, NY Shapiro, Bernstein & Co. Inc. – 218 W. 47th St.
New York, NY Watterson, Berlin & Snyder, Inc. – 1571 Broadway, New York, NY Mills Music Library Special Collections, Tams-Witmark / Wisconsin Collection Pro Culture Editions Tin Pan Alley Publishing House
His Master's Voice
His Master's Voice is a famous trademark in the recording industry and was the unofficial name of a major British record label. The phrase was coined in the 1890s as the title of a painting of a terrier mix dog named Nipper, listening to a wind-up disc gramophone. In the original painting, the dog was listening to a cylinder phonograph. In the 1970s, the statue of the dog and gramophone, His Master's Voice, were cloaked in bronze and was awarded by the record company to artists or music producers or composers as a music award and only after selling more than 100,000 recordings; the trademark image comes from a painting by English artist Francis Barraud and titled His Master's Voice. It was acquired from the artist in 1899 by the newly formed Gramophone Company and adopted as a trademark by the Gramophone Company's United States affiliate, the Victor Talking Machine Company. According to contemporary Gramophone Company publicity material, the dog, a terrier named Nipper, had belonged to Barraud's brother, Mark.
When Mark Barraud died, Francis inherited Nipper, with a cylinder phonograph and recordings of Mark's voice. Francis noted the peculiar interest that the dog took in the recorded voice of his late master emanating from the horn, conceived the idea of committing the scene to canvas. In early 1899, Francis Barraud applied for copyright of the original painting using the descriptive working title Dog looking at and listening to a Phonograph, he was unable to sell the work to any cylinder phonograph company, but William Barry Owen, the American founder of the Gramophone Company in England, offered to purchase the painting under the condition that Barraud modify it to show one of their disc machines. Barraud complied and the image was first used on the company's catalogue from December 1899; as the trademark gained in popularity, several additional copies were subsequently commissioned from the artist for various corporate purposes. Emile Berliner, the inventor of the Gramophone, had seen the picture in London and took out a United States copyright on it in July, 1900.
The painting was adopted as a trademark by Berliner's business partner, Eldridge R. Johnson of the Consolidated Talking Machine Company, reorganized as the Victor Talking Machine Company in 1901. Victor used the image far more aggressively than its UK affiliate, from 1902 most Victor records had a simplified drawing of Barraud's dog-and-gramophone image on their labels. Magazine advertisements urged record buyers to "look for the dog." In British Commonwealth countries, the Gramophone Company did not use the dog on its record labels until 1909. The following year the Gramophone Company replaced the Recording Angel trademark in the upper half of the record labels with the Nipper logo; the company was not formally called HMV or His Master's Voice, but became identified by that term due to the prominence of the phrase on the record labels. Records issued by the company before February 1908 were referred to by record collectors as G&Ts, while those after that date are called HMV records; the image continued to be used as a trademark by Victor in the US, Latin America.
In 1929, the Radio Corporation of America purchased the Victor Talking Machine Company. In British Commonwealth countries it was used by various subsidiaries of the Gramophone Company, which became part of EMI; the trademark's ownership is divided among different companies in different countries, reducing its value in the globalised music market. The name HMV was used by a chain of music shops owned by HMV in the UK, Canada, Australia, Hong Kong, Japan. In 1921 the Gramophone Company opened the first HMV shop in London. RCA purchased the Victor Company in 1929 and with it a major shareholding in the Gramophone Company, which Victor had owned in part since 1920. RCA was instrumental in the 1931 creation of EMI, which continued to own the His Master's Voice name and image in the UK. In 1935, RCA Victor sold its stake in EMI but continued to own the rights to His Master's Voice in the Americas. HMV continued to distribute Victor recordings in the UK and elsewhere until 1957, when EMI purchased Capitol Records as their distributor in the western hemisphere.
The hostilities between the US and Japan during World War II led RCA Victor's Japanese subsidiary, the Victor Company of Japan, to become independent, today the company is still allowed use of the "Victor" brand and Nipper trademark in Japan only. In 1968, RCA restricted the use of Nipper to Red Seal album covers; the Nipper trademark was reinstated to most RCA record labels in the Western Hemisphere beginning in late 1976 and was once again used in RCA advertising throughout the late 1970s and 1980s. In the early 1980s, the dog reappeared for a time on RCA television sets and was used on the ill-fated RCA CED videodisc system. EMI owned the His Master's Voice label in the UK until the 1980s, the HMV shops until 1998. In 1967, EMI converted the HMV label into an exclusive classical music label and dropped its POP series of popular music. HMV's POP series artists' roster was moved to Columbia Graphophone and Parlophone and licensed American POP record deals to Stateside Records; the globalised market for CDs pushed EMI into abandoning the HMV label in favour of "EMI Classics", a name they could use worldwide.
The HMV trademark is now owned by the retail chain in the UK. The formal trademark transfer from EMI took place in 2003; the old HMV classical music catalogue is now controlled by the Warner Classics unit of Warner Music Group. Reissues of HMV pop material that EMI controlled are now reis
1946 in music
This is a list of notable events in music that took place in the year 1946. 1946 in British music 1946 in Norwegian music 1946 in country music 1946 in jazz January 6 – A somewhat revised and streamlined revival of Jerome Kern and Oscar Hammerstein II's Show Boat opens on Broadway at the Ziegfeld Theatre, the same theatre at which the original production played back in 1927. This production features newly designed sets and costumes, more extended choreography, a new song, Nobody Else But Me, by Kern and Hammerstein. February – Kathleen Ferrier's recording contract with Columbia Records expires, she transfers to Decca. August – Singer Doris Day leaves Les Brown's band and begins her solo career. September 11 – The Royal Philharmonic Orchestra holds its first rehearsal. Formation of Bamberg Symphony and Southwest German Radio Symphony Orchestras. Al Jolson rerecords his old hits for the soundtrack of his Columbia biopic The Jolson Story, becomes a superstar to the post-war generation as well B. B. King begins working as a professional musician in Memphis, Tennessee.
Chet Atkins makes his first appearance at the Grand Ole Opry. Georgia Gibbs signs with the Majestic label. Bill Haley's professional musical career begins as a member of The Down Homers, his earliest known recordings are made during a Down Homers radio performance, but will not be released until 2006. John Serry Sr. appears as the featured accordion soloist on the Gordon MacRae radio hit Star of Stars. Annie Get Your Gun – Original Broadway Cast Show Boat – Original Broadway Cast Frank Sinatra Conducts the Music of Alec Wilder – Frank Sinatra Lombardoland – Guy Lombardo Louis Jordan And His Tympany Five – Louis Jordan Manhattan Tower – Gordon Jenkins The Voice of Frank Sinatra – Frank Sinatra Merry Christmas Music – Perry Como What We So Proudly Hail – Bing Crosby Favorite Hawaiian Songs, Vol. One – Bing Crosby Favorite Hawaiian Songs, Vol. Two – Bing Crosby Blue Skies – Bing Crosby Don't Fence Me In – Bing Crosby and The Andrews Sisters The following songs achieved the highest chart positions in the limited set of charts available for 1946.
"A Fine Romance" by Martha Tilton and Johnny Mercer "Aren't You Glad You're You?" by Les Brown & His Orchestra featuring Doris Day "Candy" by Johnny Mercer, Jo Stafford & the Pied Pipers "Choo Choo Ch' Boogie" by Louis Jordan & his Tympany Five "The Christmas Song" by the King Cole Trio "The Coffee Song" by Frank Sinatra "Coming Home" by Dorothy Squires "Day By Day" by Frank Sinatra "Doin' What Comes Natur'lly" by Dinah Shore with Spade Cooley & his Orchestra "Five Minutes More", recorded by Frank Sinatra Tex Beneke-Glenn Miller Orchestra with vocal by Tex Beneke "Fools Rush In" by Jo Stafford " For Sentimental Reasons" by the King Cole Trio "The Gypsy", recorded by The Ink Spots Dinah Shore "Hawaiian War Chant" by Spike Jones & his City Slickers "Hey! Ba-Ba-Re-Bop", recorded by Lionel Hampton & his Orchestra Tex Beneke-Glenn Miller Orchestra with vocal by Tex Beneke "Huggin' And Chalkin' " by Hoagy Carmichael "I Don't Know Enough About You" by Peggy Lee "I Dream Of You" by Archie Lewis and The Geraldo Strings "I Get A Kick Out Of You" by Margaret Whiting "I Got The Sun In The Morning by Les Brown & His Orchestra featuring Doris Day "I'll Be With You In Apple Blossom Time" by Jo Stafford "I'm A Big Girl Now" by Sammy Kaye & his Orchestra with vocal by Betty Barclay "I'm Always Chasing Rainbows" by Perry Como "Laughing On The Outside", recorded by Dinah Shore Andy Russell Sammy Kaye & his Orchestra with vocal by Billy Williams "Let It Snow, Let It Snow, Let It Snow", recorded by Vaughn Monroe & his Orchestra with vocal by Vaughn Monroe Woody Herman and his Orchestra with vocal by Woody Herman "Oh What It Seemed To Be", recorded by Frankie Carle & his Orchestra with vocal by Marjorie Hughes Frank Sinatra Charlie Spivak & his Orchestra with vocal by Jimmy Saunders Dick Haymes & Helen Forrest "The Old Lamplighter", recorded by Kay Kyser & his Orchestra with vocal by Mike Douglas Hal Derwin & his Orchestra Sammy Kaye & his Orchestra with vocal by Billy Williams "Ole Buttermilk Sky", recorded by Hoagy Carmichael Helen Carroll and the Satisfiers Paul Weston & his Orchestra with vocal by Matt Dennis Kay Kyser & his Orchestra with vocal by Michael Douglas & the Campus Kids "One-Zy Two-Zy", recorded by Freddy Martin & his Orchestra with vocal by The Martin Men Phil Harris "Personality" by Johnny Mercer & The Pied Pipers "Petit Papa Noël" by Tino Rossi "Pretending" by Andy Russell "Prisoner of Love", recorded by The Ink Spots Perry Como "Rumors Are Flying", recorded by Frankie Carle & his Orchestra with vocal by Marjorie Hughes Andrews Sisters with Les Paul Betty Rhodes Tony Martin "Shoo Fly Pie and Apple Pan Dowdy", recorded by Stan Kenton & his Orchestra with vocal by June Christy Dinah Shore "Sioux City Sue" by Bing Crosby and The Jesters "South America, Take It Away", recorded by Xavier Cugat & his Orchestra with vocal by Buddy Clark Bing Crosby and The Andrews Sisters "Stone Cold Dead In The Market" by Ella Fitzgerald & Louis Jordan "Surrender" by Perry Como "Symphony", recorded by Freddy Martin & his Orchestra with vocal by Clyde Rogers Benny Goodman & his Orchestra with vocal by Liza Morrow Bing Crosby Jo Stafford "Take the A Train" by Duke Ellington "The Things We Did Last Summer", recorded by Jo Stafford Frank Sinatra Oscar Peterson Vaughn Monroe "They Say It's Wonderful", recorded by Perry Como Frank Sinatra "To Each His Own", recorded by Eddy Howard Tony Martin The Modernaires with Paula Kelly The Ink Spots Freddy Martin & his Orchestra with vocal by Stuart Wade "We'll Gather Lilacs" by Geraldo and his Orchestra "Winter Wonderland" by Perry Como "You Won't Be Satisfied" by Les Brown & his Orchestra with vocal by Doris Day "You're The Top" by Paul Whiteman and
Edison Records was one of the earliest record labels which pioneered sound recording and reproduction and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year; the recorded wax cylinders replaced by Blue Amberol cylinders, vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists; the company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade.
Edison's original phonograph recorded on sheets of tinfoil and was little more than a crude curiosity, although one that fascinated much of the public. These earliest phonographs were sold to entrepreneurs who made a living out of traveling around the country giving "educational" lectures in hired halls or otherwise demonstrating the device to audiences for a fee; the tinfoil phonograph was not fit for any real practical use and public interest soon waned. In 1887, Edison turned his attention back to improving the phonograph cylinder; the following year, the Edison company debuted the Perfected Phonograph. Edison introduced wax cylinders 4 1⁄4 inches long and 2 1⁄4 inches in external diameter, which became the industry standard, they had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist.
The wax entertainment cylinder made its commercial debut in 1889. At first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting and skipping back the recording for dictation and playback by stenographers.
The business phonograph evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called The Ediphone. Edison holds the achievement of being one of the first companies to record the first African-American quartet to record: the Unique Quartet. A notable technological triumph of the Edison Laboratories was devising a method to mass-produce pre-recorded phonograph cylinders in molds; this was done by using slightly tapered cylinders and molding in a material that contracted as it set. To Edison's disappointment the commercial potential of this process was not realized for some years. Most of the regional Edison distributors were able to fill the small early market for recordings by mechanical duplication of a few dozen cylinders at a time. Molded cylinders did not become a significant force in the marketplace until the end of the 1890s, when molding was slow and was used only to create pantograph masters. Before using metal cylinders though Edison used paraffin paper.
Mass-producing cylinders at the Edison recording studio in New Jersey ended the local Edison retailers early practice of producing recordings in small numbers for regional markets, helped concentrate the USA recording industry in the New York City – New Jersey area the headquarters of the nation's Tin Pan Alley printed music industry. In 1902, Edison's National Phonograph Company introduced Edison Gold Moulded Records, cylinder records of improved hard black wax, capable of being played hundreds of times before wearing out; these new records were under the working title of "Edison Hi-Speed Extra Loud Moulded Records", running at the speed of 160 RPM instead of the usual speed of 144 RPM or 120 RPM. Until ca. 1898, Edison's speed was 125 RPM. In 1908, Edison introduced a new line of cylinders playing 4 rather than 2 minutes of music on the same sized record, achieved by shrinking the grooves and spacing them twice as close together. New machines were sold to play these records, as were attachments for modifying existing Edison phonographs.
In November 1912, the new Blue Amberol Records, made out of a type of smooth, hard plastic similar to celluloid invented by Edison labs, were introduced for public sale. The first release was number 1501, a performance of the Rossini's overture to his opera Semiramide, performed by the American Standard Orchestra; the plastic Blue Amberol rec
1898 in music
Events in the year 1898 in music. 1898 in Norwegian music Otilie Dvořáková, daughter of Antonín Dvořák, marries her father's pupil, composer Josef Suk. "Because" w. Charles Horwitz m. Frederick V. Bowers "The Boy Guessed Right" w.m. Lionel Monckton "Ciribiribin" w. Carlo Tiochet m. Alberto Pestalozza "Gold Will Buy Most Anything But A True Girl's Heart" w. Charles E. Foreman m. Monroe H. Rosenfeld "Good-bye Dolly Gray" w. Will D. Cobb m. Paul Barnes "Goodnight, Little Girl, Goodnight" w. Julai M. Hays m. J. C. Macy "Gypsy Love Song" w. Harry B. Smith m. Victor Herbert from the musical The Fortune Teller "Honey on my Lips" Charles E. Trevathan "I Guess I'll Have To Telegraph My Baby" w.m. George M. Cohan "Just As The Sun Went Down" w. Karl Kennett m. Lyn Udall "Just One Girl" w. Karl Kennett m. Lyn Udall "Kiss Me Honey Do" w. Edgar Smith m. John Stromberg "The Lily Of Laguna" w.m. Leslie Stuart "'Mid The Green Fields Of Virginia" w.m. Charles K. Harris "Mister Johnson Don't Get Gay" w.m. Dave Reed Jr "The Moth And The Flame" w. George Taggart m.
Max S. Witt "My Old New Hampshire Home" w. Andrew B. Sterling m. Harry Von Tilzer "Recessional" w. Rudyard Kipling m. Reginald De Koven "Romany Life" w. Harry B. Smith m. Victor Herbert "The Rosary" w. Robert Cameron Rogers m. Ethelbert Nevin "Salome" m. William Lorraine "She is the Belle of New York" w. Hugh Morton m. Gustave Kerker "She Was Bred In Old Kentucky" w. Harry Braisted m. Stanley Carter "Swipsy Cakewalk" c. Scott Joplin "When You Were Sweet Sixteen" w.m. James Thornton "Who Dat Say Chicken In Dis Crowd" w. Paul Lawrence Dunbar m. Will Marion "Nu tändas tusen juleljus", by Emmy Köhler "The Amorous Goldfish" – Syria Lamonte on Berliner Gramophone "At A Georgia Camp Meeting" – Sousa's Band on Berliner Gramophone – Dan W. Quinn on Columbia Records "The Battle Cry Of Freedom" – John Terrell on Berliner Gramophone "Believe Me, If All Those Endearing Young Charms" – J. W. Myers on Berliner Gramophone "Break The News To Mother" – George J. Gaskin on Edison Records "Chin, Chinaman" – James T. Powers on Berliner Gramophone "Cotton Blossoms" – Sousa's Band on Berliner Gramophone "Don Jose Of Sevilla" – Jessie Bartlett Davis & W. H. MacDonald on Berliner Gramophone "Happy Days In Dixie" – Arthur Collins on Edison Records "The Harp That Once Thro' Tara's Halls" – J. W. Myers on Berliner Gramophone "A Hot Time In The Old Town" – Sousa's Band on Berliner Gramophone- Len Spencer with banjo Vess L. Ossman on Columbia Records – Roger Harding on Edison Records "In The Gloaming" – Roger Harding on Berliner Gramophone "I'se Gwine Back To Dixie" – Edison Male Quartette on Edison Records "Just Before The Battle, Mother" – Frank C. Stanley on Edison Records "Killarney" – Arthur Gladstone on Berliner Gramophone "Largo Al Factotum" – Alberto Del Campo on Berliner Gramophone "Love's Old Sweet Song" – Annie Carter on Berliner Gramophone "The Miner's Dream Of Home" – Leo Dryden on Berliner Gramophone "Mister Johnson Don't Get Gay" – Press Eldridge on Edison Records "Mister Johnson, Turn Me Loose" – Marguerite Newton on Edison Records – Len Spencer with Vess L. Ossman on Columbia Records "My Old Kentucky Home, Good Night" – Diamond Four on Berliner Gramophone – Edison Male Quartette on Edison Records "Oh, Promise Me" – Jessie Bartlett Davis on Berliner Gramophone "Old Folks At Home" – Diamond Four on Berliner Gramophone "On The Banks Of The Wabash Far Away" – Annie Carter on Berliner Gramophone "Orange Blossoms" – Sousa's Band on Berliner Gramophone "The Palms" – Diamond Four on Berliner Gramophone "Rocked In The Cradle Of The Deep" – William Hooley on Edison Records "She Never Did the Same Thing Twice" – Dan W. Quinn on Berliner Gramophone "She Was Bred In Old Kentucky" – Albert C. Campbell on Edison Records "She was Happy Til She Met You" – Dan W. Quinn on Columbia Records "Smoky Mokes" – banjo Vess L. Ossman on Columbia Records "Stars And Stripes Forever" – Sousa's Band on Berliner Gramophone "Sweet And Low" – Ladies Brass Quartette of Boston Fadettes on Berliner Gramophone "Sweet Genevieve" – Jessie Bartlett Davis on Berliner Gramophone "Sweet Rosie O'Grady" – Steve Porter on Berliner Gramophone "The Sweetest Story Ever Told" – Diamond Four on Berliner Gramophone – George J. Gaskin on Edison Records "Then You'll Remember Me" – James Norrie on Berliner Gramophone- Annie Carter on Berliner Gramophone "There's A Little Star Shining For You" – Dan W. Quinn on Edison Records "The Thunderer" – Sousa's Band on Berliner Gramophone "Tramp, Tramp" – Frank C. Stanley on Edison Records "When Johnny Comes Marching Home" – Frank C. Stanley on Edison Records "Yankee Doodle" – Frank C. Stanley on Edison Records Ernest Chausson – String Quarte
A song is a single work of music, intended to be sung by the human voice with distinct and fixed pitches and patterns using sound and silence and a variety of forms that include the repetition of sections. Through semantic widening, a broader sense of the word "song" may refer to instrumentals. Written words created for music or for which music is created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs in a simple style that are learned informally are referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs; these songs, which have broad appeal, are composed by professional songwriters and lyricists. Art songs are composed by trained classical composers for recital performances. Songs are recorded on audio or video.
Songs may appear in plays, musical theatre, stage shows of any form, within operas. A song may be for a solo singer, a lead singer supported by background singers, a duet, trio, or larger ensemble involving more voices singing in harmony, although the term is not used for large classical music vocal forms including opera and oratorio, which use terms such as aria and recitative instead. Songs with more than one voice to a part singing in polyphony or harmony are considered choral works. Songs can be broadly divided depending on the criteria used. Art songs are songs created for performance by classical artists with piano or violin/viola accompaniment, although they can be sung solo. Art songs require strong vocal technique, understanding of language and poetry for interpretation. Though such singers may perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs. Art songs are a tradition from most European countries, now other countries with classical music traditions.
German-speaking communities use the term art song to distinguish so-called "serious" compositions from folk song. The lyrics are written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form; the accompaniment of European art songs is considered as an important part of the composition. Some art songs are so revered. Art songs emerge from the tradition of singing romantic love songs to an ideal or imaginary person and from religious songs; the troubadours and bards of Europe began the documented tradition of romantic songs, continued by the Elizabethan lutenists. Some of the earliest art songs are found in the music of Henry Purcell; the tradition of the romance, a love song with a flowing accompaniment in triple meter, entered opera in the 19th century, spread from there throughout Europe. It became one of the underpinnings of popular songs.
While a romance has a simple accompaniment, art songs tend to have complicated, sophisticated accompaniments that underpin, illustrate or provide contrast to the voice. Sometimes the accompaniment performer has the melody. Folk songs are songs of anonymous origin that are transmitted orally, they are a major aspect of national or cultural identity. Art songs approach the status of folk songs when people forget who the author was. Folk songs are frequently transmitted non-orally in the modern era. Folk songs exist in every culture. Popular songs may become folk songs by the same process of detachment from its source. Folk songs are more-or-less in the public domain by definition, though there are many folk song entertainers who publish and record copyrighted original material; this tradition led to the singer-songwriter style of performing, where an artist has written confessional poetry or personal statements and sings them set to music, most with guitar accompaniment. There are many genres of popular songs, including torch songs, novelty songs, rock and soul songs, other commercial genres, such as rapping.
Folk songs include ballads, plaints, love songs, mourning songs, dance songs, work songs, ritual songs and many more. Air Animal song: bird vocalization, whale song, zoomusicology Aria Canticle Hymn Instrumental Lists of songs Madrigal Poem and song Song structure Theme song Vocal music Marcello Sorce Keller, "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104. Jean Nicolas De Surmont, From vocal poetry to song, toward a Theory of Song Obects" with a foreword by Geoff Stahl, Ibidem