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Selling Sounds: The Commercial Revolution in American Music
David Suisman
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Description for Selling Sounds: The Commercial Revolution in American Music
Paperback. From Tin Pan Alley to grand opera, player-pianos to phonograph records, this title explores the rise of music as big business and the creation of a radically new musical culture. It uncovers the origins of the culture industry in music and chronicles how music ignited an auditory explosion that penetrated various aspects of society. Num Pages: 368 pages, 41 halftones. BIC Classification: 1KBB; AV; JFCA; KNTF. Category: (G) General (US: Trade). Dimension: 226 x 144 x 22. Weight in Grams: 484.
From Tin Pan Alley to grand opera, player-pianos to phonograph records, David Suisman’s Selling Sounds explores the rise of music as big business and the creation of a radically new musical culture. Around the turn of the twentieth century, music entrepreneurs laid the foundation for today’s vast industry, with new products, technologies, and commercial strategies to incorporate music into the daily rhythm of modern life. Popular songs filled the air with a new kind of musical pleasure, phonographs brought opera into the parlor, and celebrity performers like Enrico Caruso captivated the imagination of consumers from coast to coast.
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/>Selling Sounds uncovers the origins of the culture industry in music and chronicles how music ignited an auditory explosion that penetrated all aspects of society. It maps the growth of the music business across the social landscape—in homes, theaters, department stores, schools—and analyzes the effect of this development on everything from copyright law to the sensory environment. While music came to resemble other consumer goods, its distinct properties as sound ensured that its commercial growth and social impact would remain unique.
Today, the music that surrounds us—from iPods to ring tones to Muzak—accompanies us everywhere from airports to grocery stores. The roots of this modern culture lie in the business of popular song, player-pianos, and phonographs of a century ago. Provocative, original, and lucidly written, Selling Sounds reveals the commercial architecture of America’s musical life. Show Less
Product Details
Publisher
Harvard University Press United States
Place of Publication
Cambridge, Mass, United States
Shipping Time
Usually ships in 7 to 11 working days
About David Suisman
David Suisman is Associate Professor of History at the University of Delaware.
Reviews for Selling Sounds: The Commercial Revolution in American Music
This book is music to my ears
a much needed history of the rise of the commercial music industry in the first decades of the twentieth century. Deeply researched, smartly argued, and engagingly written, Selling Sounds will sweep you off your feet.
Lizabeth Cohen, author of A Consumers' Republic: The Politics of Mass Consumption in Postwar America Selling Sounds ... Read moremasterfully charts the rise of the modern music industry in all its commercial complexity. As engaging as the new popular music Suisman describes, his account deserves an audience as wide as that music enjoyed.
Emily Thompson, author of The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933 Ranging from Tin Pan Alley song pluggers to Supreme Court decisions on copyright, from Caruso's Victor Red Seal records to Black Swan, the first major black-owned record company, David Suisman's Selling Sounds is a marvelous cultural history of the ways the music industry retuned the soundscape of modern times in the United States.
Michael Denning, Yale University Virgin's music emporium will soon become a thing of the past: Like so many other retail music stores of late, it has announced that it is going out of business. The story of Selling Sounds, then, is especially timely.
Ken Emerson
Wall Street Journal
A fascinating, well-written, richly detailed story of how music became a commodity in America...[Suisman's] scholarship is amazingly wide-ranging.
William F. Gavin
Washington Times
[It's a] fascinating narrative that David Suisman unfurls...Here you learn everything from how the work of creating the songs is distributed to the various sales techniques employed by song pluggers (basically, the salesmen of music publishing), including the use of slides to add a visual component to the song. While there are numerous accounts of the position of so-called song pluggers in the development of popular music in the first decades of the 20th century, one rarely encounters a description that so accurately and compellingly details the quotidian life of these remarkable salesmen and the ways in which they learned to compete while peacefully coexisting...This [is a] really wonderful book. It warrants repeated readings and deep consideration. It is full of surprising revelations and some truly hilarious anecdotes. Well-researched and beautifully documented, replete with beautiful illustrations and photographs, this book belongs on the shelf of any reader serious about popular music and the music industry and given the impact of that industry on our daily lives, that really ought to be all of us.
Chadwick Jenkins
PopMatters
Suisman...tell[s] an alluring story.
George Anders
Forbes.com
A fascinating new book about the formative history of the American music business.
Matt Miller
The Deal Magazine
Inventors ran wild during the years bracketing the turn of the 20th century, creating technology that repeatedly transformed the ways people heard and consumed music. It happened again a hundred years later, which makes David Suisman's lucid account of the emergence and consolidation of the music industry particularly welcome.
Grant Alden
Wilson Quarterly
[A] meticulously researched history of [the music industry's] early days.
Mark Athitakis
Washington Post
Though the story Suisman tells is a broadly familiar one, he has assembled valuable reminders of something many would rather ignore; namely, the extent to which the music we hear, and how we hear it, has less to do with our personal preferences than with what a large, well-organized sector of business makes available to us. Most listeners
and, I'd wager, artists
would surely prefer to see their musical experiences as a respite from capitalism, not a function of it. Still, it would be hard to deny that phenomena from the selling of youth culture back to itself in the form of rock and roll to the rise of ringtones as a tiny, publicly audible lifestyle indicator (and a fresh income stream) are rooted in structures and processes whose origins Suisman describes.
Franklin Bruno
Los Angeles Times blog
With Selling Sounds, David Suisman kicks the legs out from the romantic account of the music industry's innocent start and slow move to commercial heartlessness. Suisman investigates the early decades of the popular music industry, from 1880 to 1930, and his descriptions of the upstart crews of scrappy entrepreneurs who hawked sheet music in the old days call to mind the corporate suits at major labels plugging the next Disney-spawned tween star or mall punk band. Put it in a pretty package and the kids will go ape for it. For Suisman popular music has always been heavily commercialized (songs, albums and artists are just more widgets to be peddled), and his book leaves one wondering whether the history of commercial music resembles the aesthetics of the pop song: the pattern has little variation but has proved to be endlessly repeatable, and mostly profitable.
J. Gabriel Boylan
The Nation
If you're interested in the history of the music industry, or have wondered idly how the song that's stuck in your head got to be there, you should read David Suisman's detailed and entertaining Selling Sounds: The Commercial Revolution in American Music. Every page held a new discovery for me, from the competitive world of song pluggers (piano-and-crooner teams hired to perform songs in advance of the sheet music publication, often to "spontaneous" applause from plants in the audience), to the rise of the player-piano (in 1900, it would have been regarded as more potentially culture-transforming than phonographs), to the reason tenors surpassed sopranos in popularity (their voices better masked deficiencies in early recording), to Irving Berlin's nine rules
some seemingly contradictory
to writing a hit song. The chapter on Black Swan Records alone, which from 1921 to 1923 attempted to combine racial uplift with a viable business model, is worth the price of admission. Selling Sounds is a profound and fascinating book, not just for academics but for anyone with ears.
Ed Park
The Millions
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