Cover image for Four parts, no waiting : a social history of American barbershop harmony
Title:
Four parts, no waiting : a social history of American barbershop harmony
Author:
Averill, Gage.
Personal Author:
Publication Information:
Oxford ; New York : Oxford University Press, 2003.
Physical Description:
xii, 234 pages : illustrations ; 25 cm + 1 CD (digital ; 4 3/4 in.).
Language:
English
ISBN:
9780195116724
Format :
Book

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ML3516 .A94 2003 Adult Non-Fiction Non-Fiction Area
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Summary

Summary

In his exploration of barbershop and its role in American music, life and imagination, Gage 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.


Author Notes

Gage Averill is Professor of Ethnomusicology at the University of Toronto and Vice-Principal Academic and Dean of the University of Toronto Mississauga. He serves as President of the Society of Ethnomusicology (2009-11).


Reviews 1

Choice Review

Averill (NYU) provides an excellent study of barbershop singing and its performers, studied as racial artifacts of 19th-century entertainments and life and as 20th-century instruments of evocation of a halcyon past in American culture. The author covers blackface minstrelsy; vocal quartets, both black and white; ensembles from the gay nineties, ragtime, and the early days of Tin Pan Alley; and vaudeville. He explores in considerable detail the midwestern roots of the revival of barbershop singing dating from the mid-1930s, spurred on by its importance in the 1939 World's Fair of New York, and he traces the history of the genre through WW II, including the formation of female quartets through the development of the Sweet Adeline groups. Chronicling singing after the end of the war, Averill presents four case studies: The Flying L Ranch Quartet (in which Roy Rogers sang); The Chordettes of the Arthur Godfrey television show; The Dapper Dans from Walt Disney's "Main Street, U.S.A."; and The Buffalo Bills, brought to the attention of the largest audiences through their roles in Meredith Willson's musical The Music Man (unfortunately, the author consistently refers to the composer as Meredith Wilson). An exhaustive bibliography and barbershop glossary accompany this otherwise first-rate study. ^BSumming Up: Highly recommended. All collections, academic and public. C. W. Henderson Saint Mary's College (IN)