Stacy Lee - Encyclopedia of Music in the 20th Century

edited by Lee Stacy and Lol Henderson

Fitzroy Dearborn

M.E. Sharpe, Inc., 1999

All rights reserved, including the right of reproduction in whole or in part in any form.

First published in 1999
by Fitzroy Dearborn

This edition published 2013 by Roudedge
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Publication Data

Encyclopedia of music in the 20th century

1. Music 20th century Encyclopedia

I. Stacy, Lee II. Henderson, Lol

780.90403

ISBN 1-57958-079-3

Developed by Brown Partworks Limited

London

Cover designed by Philip Lewis

I n the 20th century, music began to realise its potential as the most universal medium of communication. Music is a way of transmitting and reflecting emotion. Of all the art forms, music may be the most difficult to describe in words, but perhaps because of this, it is also the one that most easily transcends barriers of nationality and language. This encyclopedia looks at how music, in all its rich variety, has become part of the daily life of most of humankind, and how the international and mass appeal of music has changed its form forever. In the process, it helps us understand this unique feature of modern life.

At the dawn of the 20th century, many different types of music, from Andean folk songs to Wagnerian opera, had little or no effect on each other, and were often unknown outside of their immediate audiences. By the end of the 20th century, however, a global network had developed in which new, hybrid forms of music appeared. Boundaries that once seemed impenetrable are now crossed regularly: for example, the Indonesian gamelan influences Western concert music, Arabic instruments influence salsa, and classical composers write for rock bands without apology.

Technology is the prime reason for this important change. As soon as music could be sent over the air waves, then barriers began to be broken down. This process was carried even further as recording technology allowed individuals to listen to a performance in their own homes. Before the advent of radio and the phonograph, the only way of learning about music was by studying at the feet of a master musician, or by reading complex scores that in themselves took years of study to decipher. Listening was always a social experience, as music could only be heard when played live by musicians. The radio and sound recording have changed all that. Now an individual sitting alone in a room can listen over and over to the most profound orchestral masterpiece. In the world of rock, the Beatles reached a global audience and paved the way for the world domination of rock music with less than half a dozen three-minute tracks.

The Encyclopedia of Music in the 20th Century provides a guide to the most important musical devel-opments of the past 100 years, and encompasses this broad field of musical invention without intimidating the non-specialist user. Each entry has been written by a musicologist or journalist expert in the field, but in a style that can be understood by students of music at all levels and by anyone interested in this multifaceted subject. The entries cover all the major genres, styles, techniques, composers, and performers who make up this rich, varied world of artistic expression. They look at how musical styles have developed, both within their own context and within the context of a changing world, from Electronic Music to Zouk; from Abba to Anton Webern; from Joan Baez to Arturo Toscanini.

The main part of the encyclopedia is arranged alphabetically, with entries on important genres, forms, technical developments, and national styles of music, and on individuals who have made the most significant contributions to music in this period. Words that appear in small capitals (e.g., MADONNA) in the article text or at the end of the article under SEE ALSO refer to articles found elsewhere in the encyclopedia. Each article also ends with further readings and a list of suggested listening that highlights the most relevant musical pieces.

Following the main A-Z section, the reader will find a biographical digest of over 1,000 entries. This special section provides concise biographies of the individuals or groups who have made major contributions to music in the 20th century, but have not been allotted a main entry.

I n the 1970s, Swedish pop group Abba replaced the BEATLES as the worlds most popular entertainers. They had extraordinary chart success, and their deceptively simple, slick (some would say bland) music, conceals their quite exceptional songwriting and production skills.

Formed in 1972, Abba included Benny Andersson (b. December 1946), keyboards and synthesizer; Bjorn Ulvaeus (b. April 1945), guitar; Agnetha Faltskog (b. April 1950), vocals; and Fridaa single stage name(b. Anni-Frid Lyngstad, November 1945), vocals. Abba was an acronym formed from the first-name initial of each member.

In 1974, Abba made an instant international impact : with Waterloo, Swedens winning entry in the Eurovision song contest. The song was a No. 1 hit in the U.K. singles charts and, surprisingly for a Eurovision entry, also reached No. 6 in the U.S. Thus began the bands brilliant run through the worlds pop charts with songs such as S.O.S., Money, Money, Money, Super Trooper, and Dancing Queen. In Britain, the group enjoyed spectacular success, with eight successive No. 1 albums from 1976 to 1982. Success in America was far less dramaticin addition to Waterloo only Dancing Queen reached the Top 10. Nevertheless, by 1979 Abba had sold more records than any other group, including the Beatles, worldwide.

The common ingredients for the perfect Abba song were an infectious, sometimes haunting, melody, immaculate counter-harmonies, and, above all, supreme attention to production details. Their nationality was also part of Abbas appeal. A British or American act may have been too self-conscious to mouth some of their unsophisticated, even mawkish, lyrics. Their background in Swedish folk music ensured that Abba never forgot the importance of melody at a time when many rock bands were exploring complex electronic effects and obscure lyrics. The group was at its most creative when dealing in everyday gloom. Sad and graceful songs such as Knowing Me, Knowing You, and The Winner Takes It All saw them create hit singles out of the desolation of failed relationships (Bjorn and Agnetha, and Benny and Frida were married couples who divorced during their days as Abba).

The Abba line-up (left to right): Benny, Frida, Agnetha, and Bjorn. Their well-constructed songs and unique fashion sense dominated the worlds pop scene in the late 1970s.

Abba disbanded in 1982 and Agnetha and Frida attempted solo careers, but failed. Bjorn and Bennys songwriting talents proved more enduring, notably in their collaboration with lyricist Tim Rice on the musical Chess (1986). The groups afterlife, however, began in the early 1990s when disco glamour was in vogue, and the Abba Gold album (1992) sold millions of copies.

Graham McColl

SEE ALSO:

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FURTHER READING

Edgington, H., and P. Himmelstrand. Abba (London: Magnum Books, 1978);

Tobler, John. ABBA Gold: The Complete Story (New York: St. Martins Press, 1993).